TRACK REVIEW: Billie Eilish - all the good girls go to hell

TRACK REVIEW:

 

Billie Eilish

all the good girls go to hell

9.6/10

The track, all the good girls go to hell, is available via:

https://www.youtube.com/watch?v=EdUoWklL2FI

ORIGIN:

Los Angeles, U.S.A.

GENRES:

Pop/Indie

The album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, is available via:

https://open.spotify.com/album/0S0KGZnfBGSIssfF54WSJh?si=Uo4MA6TkRty1n_Qu-acbVw

RELEASE DATE:

29th March, 2019

LABELS:

Darkroom/Interscope

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YOU can hardly flick a magazine page...

 PHOTO CREDIT: Cameron Postforoosh

or see a page on a music website without seeing teenage star Billie Eilish staring back at you. Her album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, has just arrived and, for the most part, met with passionate acclaim. The American artist released an E.P., don’t smile at me, in 2017 and, since then, I have seen her grow more ambitious and daring. Before I investigate her debut album and the song I selected from it, it is worth talking about young/newer artists and a certain voice; the new way Pop is going and those who are adding something fresh; putting pressure on young artists and allowing them to grow; following something as big as WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and, in the case of Eilish, growing out into the world and where she can head – I might also nod to her personality and why she adds a certain freshness. I must confess I am not completely on the Eilish bandwagon when it comes to fervency. I think there is a bit of a way to come regarding star quality and hitting her peak. There have been some brilliant reviews but, in some more mixed ones, there have been comments regarding an inconsistency – maybe her album lacks a balance and, in terms of sonic scope, there is not as much as there could be. What is it about artists like Billie Eilish that stand aside? She might be the youngest of the approaching pack (still eighteen) but that is not to say she lacks experience and depth. In fact, in interviews recently, she has expressed her worries regarding her peers dying from drugs; how there is a lot of pressure on artists to succeed and what it takes to succeed. She definitely has a wise head on her shoulders and this bleeds into her music. A lot of the younger Pop artists, such as her and Sigrid, are straying from this rather simple template and creating music that has more personality and colour.

Listen to Sigrid and she, on her Sucker Punch album, makes you feel alive and energised but there are revelations and darker moments that give a balance. Eilish might not have the same optimism but, in her own way, she is an innovator and someone who is not beholden to the mainstream and a certain way. Look at articles such as this - and there is this young generation that is emerging and doing music their way. They do not want to talk crap and stick to the same themes as many of the commercial favourites. In many ways, people like Billie Eilish are narrowing the generation gap and speaking more to the older listeners who might not normally invest their time in modern Pop. Whether they are a D.I.Y., bedroom-made artist or are determined not to be coerced, there is something coming out that is blurring genre lines and quite exceptional. I do think there is a lot of expectation when you discover an artist so young who stands out. Eilish is a teenager and she has a long way to go but I still think she can blossom and expand. Her vision is different to what is around her and, as such, everyone wants a piece of her. It is scary seeing all the interviews and features written about her and, whilst I shall cover this more later, she is handling it all calmly. What is it about Eilish’s music that has captivated and entranced? This interview she conducted with The Guardian exposed some truth and talked to the woman herself:

“From her recent eerie single, Bury a Friend, to the brooding vision of grandeur in You Should See Me in a Crown, Eilish’s music conjures a twist on dark, theatrical pop, sharing as much DNA with the broad strokes of Broadway as it does Del Rey’s haunted balladry. The release of her debut album this week may mark the first time that many parents have heard Eilish, whose music represents everything about Gen-Z pop culture that foxes adults: genre-less but image-conscious; extremely online, but private. It deals in anxiety, sincerity and emotional intelligence, mixed up with classic teenage apathy. Her music, like her style, is difficult to place on a timeline or pin to specific references. It’s new and it’s accomplished. Eilish embodies it all.

Lucid dreams, night terrors and sleep paralysis litter Eilish’s debut album, When We All Fall Asleep, Where Do We Go? It’s an album of firsts, of which Eilish has had plenty over the past year: being in love, experiencing the death of someone close and first time (she adds with another snort) being famous. She says it’s about the parallel awfulness of dreams and reality, and, occasionally, the pleasurable, dreamy quality of being alive. Her young life conveys no obvious torment or trial, but she makes a few lyrical references to her personal safety. She says she wouldn’t be able to do casual meet-and-greets any more for that reason. Although she feels happy on stage, she doesn’t feel physically safe up there. Before shows, “I’ll go through the back entrance because it’s the safest way for me to go. Sometimes, there are not-great people outside: not fans, sometimes people who … don’t want the best things for me.” Later on at the gig, I personally feel uncomfortable at the number of solitary older men incessantly taking photos of her”.

I think a lot of people still have a set impression of Pop and what it is all about. They listen to BBC Radio 1 and hear something tinny and machine-fed and assume that this is what modern Pop is about. I agree that there is this mass that seems to be concerned with the same lyrical themes and sounds. You get a lot of boring and overly-processed songs that are all designed to be disposal and easy to understand. Artists like Billie Eilish are seeing the modern, popular sounds and offering alternatives. I do feel that the more interesting Pop artists – whether that is Billie Eilish or Sigrid – are doing something more personal and inventive. Eilish is getting a lot of warm nods because she throws in odd sounds and has this true personality. Whether you respond to her textures or feel they are a bit dark, one cannot dispute they are a stark contrast to what is deemed popular and accepted. There is a bravery and boldness in WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? that staggers the mind.

Eilish could have come in with something quite safe and radio-friendly but, in many ways, she is more an Experimental artist than a traditional Pop performer – more similar to someone like Gazelle Twin than Rita Ora. Most of the criticism regarding Pop – through the last few years – concerns its staid and routine flavour. We know that Pop is getting sadder, more repetitive and involving minor keys but, staying within this rule, there are those that are capable of producing something interesting. There are few, I admit, that are doing these brash songs that are exciting; complex and rich that punch through the sky and have the ability to remain for decades. Instead, Pop is in a bit of a limited state. There is this need to be exposed and raw with the music rather than pen belting anthems. Some artists go for optimistic but, a lot of the time, it can feel empty. Many young artists are exploring difficult themes and darker realms but ensuring there is plenty of originality and intelligence. Genres are being pollinated together and explored and there is a more interesting Pop sound. Whether you count Billie Eilish as ‘Pop’ or have other labels for her, she is showing there is an alternative to the chart-bound shallowness. In this album review from NME, they drilled into some of the subjects Eilish explores and why she stands out:

“Though they are fairly traditional influences, her music is thoroughly modern. Her generation’s hope, anxiety, vulnerability and heartbreak are reflected in the songs she pens with Finneas. ‘Bellyache’, from that debut EP, was inspired by the regret she felt when she would shoplift or occasionally nab toys from friends. “I’d leave and want to throw up with guilt. I used to think the police were going to come to class and take me away from my parents,” she laughs. “It was completely irrational, but there’s nothing like that overwhelming feeling, and to say that a child can’t write about those feelings because they are too young is bogus.”

Now, Gen Z (teens born mid-’90s to mid-’00s; Eilish was born in December 2001) icons like Billie, guns-rights activist Emma Gonzalez and more are proving themselves tech-savvy, politically aware and ready to push the envelope creatively. “Bro, teenagers know more about the country that we’re living in right now than anybody,” she says.

“The world is ending and I honestly don’t understand the law that says you have to be older to vote, because they’re going to die soon and we’ll have to deal with it. That doesn’t make any sense to me,” she says. “But to see young people taking part in peaceful protests and not obeying is beautiful”.

 I do wonder whether, when we see and promote these bold artists, there is too much pressure on their shoulders. I wrote a piece about Sky Ferreira recently: she has returned with an album and this ends a six-year period of relative inactivity. Some wonder what has taken her too long and, after a successful debut, why has she taken until now to come up with something?! Listen to her new song, Downhill Lullaby, and it is similar to what Eilish is putting out. Ferreira is producing something with a darker hue and more dramatic tone; another Pop artist that is writing in a more expressive and interesting manner. There has been pressure put on her shoulders and I feel there is this tendency to expect too much from young artists. Maybe it is the generational gap and the mid-1990s/mid-2000s that means young artists now are being inspired by different artists. Maybe they are not growing up around the same sounds or perhaps the way they promote their music is different. More are doing it bedroom-made and promoting on YouTube; many are growing up in a different world to the one in which their older peers have. It is interesting seeing the difference but I do worry that, still, when we see a young artist doing well there is this need for them to follow their latest album up right away.

 PHOTO CREDIT: POPSUGAR

The business is so competitive and busy that there is a danger taking too much time away. If you have a big album like WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? then, of course, many will want something next year and they will want Eilish to tour the world. There is a raft of press out there and so many column-inches so that does make me wonder whether Eilish will be allowed some time off. She will be touring her album and bringing it around the world but, at the age of eighteen, she has plenty of energy in her. The downside is that there will be this fatigue that kicks in and she will not be allowed to relax. I do worry that we are expecting too much from young artists and, in years to come, what affect that will have on their physical and mental-health. Eilish is just starting out but, given the fact she is gaining headway, does this mean she will be allowed any time for reflection and room before the end of this year? Eilish has spoken about her peers dying from drug abuse and suicide and she knows there is something worrying happening. Do we expect too much and drive artists to unreasonable lengths?! It is a hectic industry but, even if you do have this very rare talent in your midst, that does not mean they should be driven and pushed to the point of exhaustion. This is not a new thing in Pop. Look back at the 2000s heyday when the likes of Britney Spears ruled and, back then, there was this need for her to tour relentlessly and she rarely caught a break. I do hope that people lay off her and give Eilish the room to live her life and not be controlled. She is someone who will not be controlled but, in order to succeed and be heard, she does need to conform to an extent. I do feel like she will be able to balance work-life and not burn-out too much.

WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? is Eilish adding her own style and voice to music. I have also written a piece about how annoying it is to see the way songs and artists are stylised these days. I used Eilish as a focal point because, as you can tell from her album and song titles, she is someone who is not exactly beholden to correct English. She likes to put songs in lower-case-only letters and upper-case in the case of the album. This is something that bugs me but, when I posted my article on Twitter, someone came back and argued that this – and other artists that do this – is a case of adding personality and art into music. To me, it encourages bad English and other artists to be rather lazy regarding songs. I see so many songs without a question mark when they should; many with lower-case lettering where there shouldn’t be one – this also bleeds into lyrics which, in some corners, can be rather basic, unimaginative and simplistic. Even if the stylizing lettering is annoying and not really needed, maybe it indicates a style and sense of personality that is different from the rather straight and disciplined music around. Eilish is someone who can address the same themes as many of her more commercial artists – including depression and struggles in life – and add more ambition and flair. Listen to any song on WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and there is greater emphasis on the vocal nuance and experimental, interesting nature of the music than there is anything else. On so many Pop records, there is this need to be polished and formulaic. Many are too concerned with being radio-friendly and chart-conforming and you rarely get these more explosive and rare moments. Many have been calling for Pop to go in a new direction and take bigger risks. Billie Eilish is not the first artist to hone the sound she has right now – listen to FKA twigs and M.I.A. – but she could so easily have produced something pretty safe and soft.

 IN THIS PHOTO: Rachael Wright for NME

all the good girls go to hell is one of the more interesting and snaking songs on the record. It starts with a slow build and we get this sort of funeral wind and echo that suggests something dark. Eilish comes to the microphone with the words “My Lucifer is lonely” and you feel like we are going to have this punishing song. Just then, the track switches and we get a very bouncy and sweeter piano refrain and vocal that catches you by surprises. There is an element to the girl groups of the past like TLC and Destiny’s Child. Although Eilish’s voice is softer and less anthemic than those groups, there is a musical strut that makes the song pop. The lyrics, I wonder, might be about the heroine or a peer. She talks about standing there and killing time; not being able to commit to anything but a crime. Maybe this is a view of someone who is a no-good; a bad girl who is walking down a bad path and is wasting time with crime. Perhaps this is a side to Eilish and where she is in life. Many have noted how, on WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, there are oblique lyrics and not a set construct. Look at other Pop songs and you get these rather obvious lyrics. Eilish talks about someone called Peter being on vacation and drops in animals and evidence; “Pearly gates look more like a picket fence” – she has friends but can’t invite them in. Rather than being these simple and hand-feeding lyrics that set out their stall clearly, you do wonder with Eilish and what inspired this song. Maybe it is about recklessness and excess; living on the edge and being in this excessive frame of mind. I can see there are nods to contemporaries and her friends but I get the feeling Eilish is looking at herself and how she is walking down a darker road. The beat rolls and there is this funkiness and, all the while, Eilish keeps her voice somewhat whispered and calmer – reminding me of M.I.A. in some places.

 PHOTO CREDIT: Dan Regan

Eilish talks about hills burning in California and I wonder whether it is a look at something like climate change or more to do with celebrity culture or a changing landscape. Things are never obvious with Eilish and you do wonder where the true origins lie. That pre-chorus builds speculation and drama but, when the chorus comes in, Eilish talks of the good girls going to Hell; God (as a woman) having enemies and Heaven being out of sight. Maybe you can see those lyrics as a warning or something oblique but maybe there are words about gender-equality and balance; perhaps it is more about control and something darker in music. I feel like a lot of Eilish’s observations stem from her peers and where she lives. The Los Angeles-based artist is growing up around a lot of fakes and there is corruption around. I love songs that go deep and make you ponder. Everyone will have their own interpretations but, in my view, we are listening to a song that talks about the city and how it leads people astray. The song has this wired and buzzing electronics that mixes with a big beat and a skipping piano. It is like a fusion of classic House with some Electronic and Pop all mixed alongside one another. Eilish rides the wave but keeps some caution in her voice. She name-checks those who need her help and, once again, there is mystery. She speaks about a man/men being fools and not being able to save themselves. They are poisoning themselves and begging for help and I wonder whether this is a reaction drugs and excess or something else. I love the combination of the more anxious lyrics and intriguing scenes with the lighter and more spirited composition. Eilish discusses Heaven and Hell and her own private Lucifer; the dangers and darkness lingering and people in her life fading away. all the good girls go to hell is just under three minutes and you sort of end the track and want a bit more – addicted and held by the blends and layers the song provides. Everyone, as I say, will have their own view regarding the song’s truth and I find the lyrics are amazingly mature and deep from someone so young. Regardless of your views about Eilish, you cannot deny she is doing something new and her music definitely engages the senses!

 IN THIS PHOTO: Rachael Wright for NME

I have covered Billie Eilish, I hope, in detail and explored her different sides. She is this sensation that is turning heads and getting people in the press very excited. I do love what she is doing and, although I will not convert completely – there are songs and moments on her album that are a bit samey -, I do think she is part of this more interesting and appealing wave of artists. Her album is collecting more than its share of great reviews and people are excited where she can head. I do feel like we will not have to wait five or six years for a follow-up but that is not to say she should rush another release. Many will want a successor to WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? because we are quite impatient and we have that thirst. Look at Eilish’s social media pages and you can see where she is headed and where you can catch her. I have heard Billie Eilish in the press and there is no pretense and ego. One knows her answers are not being carefully vetted and redacted by a P.R. team: instead, you get this honest teenager who wants to write the music that feels right to her. One of my biggest problems with modern Pop is the lack of personality and actual truth. You feel so much of what is out there is rather generic and follows too closely to everything else. You rarely get a sense of who the artist is and them writing in a way that is unique to them. Eilish is one of those artists who can relate and strike a chord but she does things in her own way. I know it is never a good way to cross-reference reviews but I think Variety nails her sound and what makes WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? shine:

“With all its moments of distortion and attitude, tempered by sheer loveliness, and rude and emotional songs about night terrors and daydreams, “When We All Fall Asleep, Where Do We Go?” feels like a rock ‘n’ roll album, even if there’s virtually nothing on it that sounds like rock music...

And although the jazziness is more latent than blatant in this sonic blast, she hasn’t done any disgrace to the name her parents gave her, either. Attention, 2020 Grammys: The future still isn’t quite done being female”.

Many reviews are saying the same thing and there is plenty of promise when it comes to the young Eilish. I do think the industry will heap expectation at her feet and there will be this need for her to keep touring, talking and making music. We are seeing a lot of artists suffer from that stress and tiredness but I think Eilish knows this and is not going to let herself get to that point. She has given the world this interesting and diverse album so, naturally, many will ask what comes next and whether we will get even more material later in the year. I will bring things to an end but I wanted to write about Billie Eilish because there are contrasting views regarding her music. Many are positive and hopeful but there are some that are not quite warm to her. Maybe that will change but, to me, Eilish is someone who is making Pop more interesting and brave. The production and eclectic compositions score these, at times, scary songs but you never feel offended or cold. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? rewards patience and multiple listens so make sure you invest some time in it. Let’s stop the review here but, when investigating all the good girls go to hell – her and those bloody lower-case letters! – I felt like there was this strange and honest artist who was not following a set pattern and formula. The rest of 2019 is a busy one for Billie Eilish but she will have some time to relax, one hopes, sooner or later. She warrants some time off because she has worked hard and you can hear the effort in her debut album. Although Eilish has been making music for just a few years, it is clear that we will hear...

A lot more from her.

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Follow Billie Eilish

Official:

https://www.billieeilish.com/

Twitter:

https://twitter.com/billieeilish

Facebook:

https://www.facebook.com/billieeilish/

Spotify:

https://open.spotify.com/artist/6qqNVTkY8uBg9cP3Jd7DAH?si=KYG31wRHQgeV43YpouMyHg

Instagram:

https://www.instagram.com/wherearetheavocados/

YouTube:

https://www.youtube.com/channel/UCiGm_E4ZwYSHV3bcW1pnSeQ

ALL PHOTOS (unless credited otherwise):

Getty Images/Press/Artist (every effort has been made to cite and source the photographers in each case; I can add credits if needed)

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Izzy Bizu 

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

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NOW that the weather is a lot warmer...

 IN THIS PHOTO: anaïs

we know spring is here and it puts us in a better mood. The quality of music out there is pretty ace and there are so many great artists emerging. I have been listening to the best female-led sounds around and seeing what’s what. I am always amazed by the sheer scope and quality around and, every week, we get this new batch of songs that catches you by surprise. Because of that, enjoy the current spring-themed playlist that should add some step and, when the darkness comes tonight, provide some gentle touch and comfort. It is another varied and exciting collection of songs that will definitely stay with you. Have a listen to the tracks here and I hope they accompany a very bright...

IN THIS PHOTO: Sahara Beck/PHOTO CREDIT: Jeff Andersen Jnr.

AND warm spring day.

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

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Aimée – Don’t Bother

PHOTO CREDIT: Mark Hill Photography & Media

Sive – Do It All the Time

PHOTO CREDIT: Jeff Andersen Jnr.

Sahara Beck – I Haven’t Done a Thing Today

SLO – Temporary Madness

Izzy Bizu – Lights On

PHOTO CREDIT: Heather Koepp Photography

Haley Reinhart – Broken Record

Folly Rae – Full Stop

PHOTO CREDIT: Sara Carpentieri

Phoebe Green – Dreaming Of

Rachel Fannan – Fever Pitch

PHOTO CREDIT: Jac Meddings/@house.mum 

Lupa J – The Crash

PHOTO CREDIT: Chiara Ceccaioni: Photo + Design

Heavy Heart – Dowsabel

PHOTO CREDIT: Glenn Harvey

Tokyo Tea Room – Forever Out of Time

anaïs – lost my faith

Jana Kramer – Beautiful Lies

Kelsey Lu – Blood

April Kry – If Girls Ruled the World

Gabrielle Aplin – Nothing Really Matters

PHOTO CREDIT: Chip Skingley

Freya Roy – 22 Movements

PHOTO CREDIT: Emily Scarlett Romain

Sonia Stein – Party

Bianca Jade – On and On

Maddie & Tae – Tourists in This Town

PHOTO CREDIT: Helen Moga

Tacocats – Grains of Salt

Ibibio Sound Machine – Guess We Found a Way

LAOISE – Seriously?

PHOTO CREDIT: John Clark

Filthy Friends – November Man

PHOTO CREDIT: Sarah Cresswell

Mesadorm – When She’s in That Mood

Twinnie – Type of Girl

INTERVIEW: Mesadorm

INTERVIEW:

PHOTO CREDIT: Sarah Cresswell 

Mesadorm

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THE fantastic Daisy Palmer and Blythe Pepino of Mesadorm...

have been telling me about their new track, When She’s in That Mood, and what it concerns. I ask what we can expect from the upcoming album, Epicadus, and what the scene is like where they are in Bristol – Palmer and Pepino recommends some rising artists to look out for.

I ask if there are tour dates approaching and the sort of music they (Palmer and Pepino) grew up around; who they’d support on the road if they could and how they unwind away from music – they each select a great track to finish the interview with.

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

Daisy Palmer: A good week so far - we’ve just been at our stylist’s house who has been finding us a new look for our acoustic tour. She made us a pie: highlight of the week. We are also starting to promote our new single and tour documentary directed by the legend that is Tom Jacob.

Blythe Pepino: My week has been spent mainly doing interviews on morning television representing the movement Birthstrike. My life is now split between working on Mesadorm and working as an activist within Extinction Rebellion.

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

Daisy: We are a genre-bending Alternative band from Bristol probably to be found occupying the ethereal space between Kate Bush, Björk and Sylvan Esso. Blythe used to front Art-Pop trio Vaults and I’m Paloma Faith’s drummer. Jo (cello) has played with Frank Turner and The Unthanks and David (bass) and Aaron (production/guitars/synth) are ridiculously talented musicians in their own right.

Blythe: Mesadorm is a project based on the true expression of art, an old-fashioned regard for a great melody and the solid bonds of friendship.

When She’s in That Mood is your latest single. How did it come together?

Blythe: When I was living in Bridport, Dorset during early-2017, I fell head over heels in love with my now-boyfriend, Joshua. At the time, I was also having an intense relationship with a woman, a dancer and musician who I found incredibly inspiring. Lost in the heady atmosphere of love and the epic English coastline at Bridport, I mused on the idea of losing yourself in another and of the beauty and free-ness within that.

Daisy: It’s a beautiful thing.

It is from the forthcoming Epicadus L.P. What was it like recording the songs and being in Eype Church?

Blythe: Eype Church has a wonderful acoustic and its dramatic setting on the Dorset cliffs is totally awe-inspiring.

Daisy: The place just has an incredible magic about it. We have performed there many times as Blythe used to be local to the area and, when the idea of recording an acoustic album came about, we all agreed that it had to be at Eype. We worked up some alternate arrangements of the existing songs from Heterogaster within the space. We then recorded the songs live with expert engineer Tim Allen. It was truly a breath of fresh air.

Do you recall when Mesadorm got together and started playing?

Daisy: Blythe, Jo and I began playing some of Blythe’s songs as an acoustic trio around 2015. At that time, Aaron was also working on the electronic production for the songs which we slowly built into the live set, with help from David on bass.

Blythe: It was a gradual and organic process achieved in our down-time which enabled us to spend time focusing on how we wanted to sound. All five of us had played together in many different combinations over the years, so we trust each other’s taste implicitly.

PHOTO CREDIT: Sarah Cresswell 

What sort of music did you all grow up on?

Daisy: Mainly Steely Dan, David Bowie & Stevie Wonder.

Blythe: Everything! But Mum was always playing the BIG vocalists, so mainly Nina Simone and Aretha Franklin but also The Beach Boys, Labi Siffre and lots of Classical music.

How inspiring is the Bristol music scene right now?

Daisy: Bristol has always had an ace scene for left-field musicians and bands. But now there seems to be more industry infrastructure that wasn’t there when we starting playing together on the scene.  IDLES and their team are an excellent example of just that: supportive musicians with an excellent manager (big up, Mark Bent!) all based in Bristol.

Blythe: The scene has come on massively and I’m so pleased there’s a hub for the industry outside of London now.

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

Blythe: We’ve been having some magic times in the studio recently jamming for our next album which has made me very happy!

Daisy: ...And performing together at Maida Vale for BBC Introducing in January was insane! I’ve recorded in M.V. three many times but never with a project of my own - so it was life-affirming, truly.

PHOTO CREDIT: Sarah Cresswell 

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

Blythe: Bette Midler - Bed of Roses

Because she kicks ass!

Daisy: Duet - Doris Day and André Previn

It’s just so atmospheric and I’m a massive Doris Day fan.

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

Both: Björk - with a rider of cheesy chips.

PHOTO CREDIT: Sarah Cresswell 

What advice would you give to new artists coming through?

Daisy: Work really hard.

Blythe: Don’t do it for the money.

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

Blythe: We are touring Epicadus from 24th April - 26th May. Here are the dates:

24th April - The Forge, Bristol

25th April - The Barrelhouse, Totnes

26th April - The Rose Hill, Brighton

27th April - St Mary’s Music Hall, London

28th April - Cobalt Studios, Newcastle

29th April - Hug & Pint, Glasgow

30th April - Secret Location, Edinburgh

1st May - Burton Arms, Manchester

11th May - Rodborough Church, Stroud

25th May - Kino, St Leonards, Hastings

26th May - Poltimore Festival, Exeter

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

Blythe: Laughing whilst crying.

Daisy: Acoustic wonderment/‘Melt your face off Phatty Bom Batty’-bass.

 IN THIS PHOTO: Laura Groves/PHOTO CREDIT: Suzie Howell

Are there any new artists you recommend we check out?

Daisy: Laura Groves.

Blythe: BAS JAN.

 IN THIS PHOTO: BAS JAN/PHOTO CREDIT: Kuba Ryniewicz

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

Blythe: I find meditation extremely useful in order to deal with my neurosis and anxiety. A healthy balance of work and time off is good and you need to make sure you are laughing enough.

Daisy: Laughing is the key to life.

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

Blythe: Grizzly Bear - Mourning Sound

Daisy: Mighty Sparrow - Music & Rhythm

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Follow Mesadorm

PHOTO CREDIT: Sarah Cresswell  

Official:

https://www.babylegsrecords.com/mesadorm

Twitter:

https://twitter.com/mesadorm

Facebook:

https://www.facebook.com/mesadorm

Spotify:

https://open.spotify.com/artist/3UkK5pD67AThhVlwymGFap?si=CWnHD2ywQvG5VEtyrbsPAw

Instagram:

https://www.instagram.com/mesadorm/

YouTube:

https://www.youtube.com/channel/UCxOEYOfeXcBWW8noB-ehJFg/featured

FEATURE: Spotlight: Anteros

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Anteros/Getty Images

Anteros

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I have been speaking about the lack...

 IN THIS PHOTO: Anteros keeping warm in 2018/PHOTO CREDIT: Emma Swann for DIY

of fun and pop in music and, more and more, people are starting to sound the same. That sound is not especially uplifting or optimistic: instead, it is somewhat downbeat and really does lack a real sense of kick. There are some Pop artists around that can bring energy but in terms of depth, perhaps it is not the most affecting. We have not really got any movements that sort of promote positivity and something rousing because, more and more, the music industry is lacking any focus. That is understandable as there are so many artists around but one has to dig hard to discover anything  that puts you in a better mood. I admit that artists like Lizzo can bring the funkiness and sass to the party but, away from her, where does one go? Maybe the style of Anteros is different to someone like Lizzo but they definitely know how to craft an immediate and catchy song! The band formed back in 2014 and comprises Laura Hayden, Joshua Rumble; Jackson Couzens and Harry Balazs. Beginning life as a duo – Hayden and Rumble started Anteros – the numbers have grown and, with it, the musical palette. One does not even need to listen to the band to know that colour and a certain vibrancy are at their heart. In some ways, they seem like a 1980s band such as Blondie – I know they started life in the 1970s but I associate them with the following decade.

 IMAGE CREDIT: Getty Images/Anteros

You have this female lead that has this very cool aesthetic and swagger; a brilliant voice and a confidence that makes every song shine. Behind her, the tight band who can bring plenty of groove, energy and confidence. I love that, even looking at photos, you can tell they are going to be interesting and different from everyone out there. The band has just released their long-awaited debut album, When We Land, and the album is filled with big tunes and plenty of jangle. I love songs such as Afterglow and Wrong Side but, in actuality, every song shines and has its place! There are not many out there who are doing the same thing as Anteros. Although some of the songs address a certain tension and unhappiness, the band never drag the mood down: instead, they have this sense of motivation and spirit that elevates the tracks and gets them into the blood. The reviews for When We Land have been largely positive. I have seen the odd myopic review that bemoans the clean production and the fact songs, to them, lack any real depth and memorability. The production sounds great and it needs that polish to make it pop and resonate; the lyrics are actually perfect for the type of Pop that the band are putting out – walking that line between catchy and fun and diverse and challenging. They do not, as many of their peers have already done, created something that is quite tense and heartbroken. Rather than do that, they are keen to make sure everything puts you in a better mood.

This is lacking in music and, as such, reviews have been pretty warm. DIY were keen to have their say and give their thoughts:

“Even before releasing an album, a reputation for glamorous, retro pop trailed Anteros on the back of sold-out shows and irresistibly catchy singles. On debut LP ‘When We Land’ they expand these ideas, moulding vintage influences to their strand of social commentary. 
The woozy ‘Drive On’ exemplifies this approach; it’s immediately captivating, with faraway guitar riffs that bring to mind a sun-bleached West Coast captured in a Polaroid picture. Lyrically, however, it describes a garbage-strewn wasteland as it’s ignored by passers-by.

Nodding towards the drama and contrast that Anteros bring to their music, it’s easy to imagine the album as a soundtrack to a movie, tackling topical issues with a flair for the dramatic. ‘Ordinary Girl’ is pared-back and anthemic at once, and ‘Wrong Side’ is the most straight-up pop cut from the record, tailor-made for a night on the dancefloor.

With a decent whack of expectation behind the band since the early success of ‘Breakfast’ and the swaggering slow burn of ‘Drunk’, it would have been easy for Anteros to lose their footing. But on ‘Where We Land’ the band sound firmly grounded and ready to take on the future”.

In another review, The Line of Best Fit provided their take when it came to the evocative and catchy music of Anteros:

“What ties it all together is the dreamlike synths, Hayden’s diverse and unique vocals, and the coupling of thought-provoking lyrics with impossibly catchy choruses. The tempo of the chorus to “Honey” inspires dancing, whilst its words explore a toxic relationship, feeling trapped and incapable of walking away. It is only in “Let It Out” that the tempo drops momentarily, and a soaring vulnerability is revealed. It is the emotional core of the album, Hayden singing “let it out, I don’t need to pretend” as imploring as she is affirming of herself – until the very end of the song when she gains strength and conviction...

The eponymous track, “Anteros”, makes a fitting closer for the band’s debut album. “Could this be the first part of the last start?” is repeated over and over, but it’s hopeful rather than unsure. They sound like a band who already know the answer”.

In the final review I will source, Gigwise explained how Anteros have an alternative to combatting tough times – whereas so many others are quite po-faced and depressing:

“When We Land is loaded with air-punching dance anthems and toe-tapping tunes that you can sing your heart out to. While most bands have been preoccupied with delivering weighty records to navigate the current chaos, Anteros opted for a more fun-filled approach to surviving these trying times. Although we will always need music which stands against all the ills and calls out the injustices in the world, there is still a place for bands to lighten the mood, make us smile and give us a much-needed timeout from thinking about our shitstorm of a society - Anteros seem to gladly step up to the plate and fulfill that need with When We Land”.

For those who feel Anteros lack a sense of depth and seriousness, try looking out at the current climate and asking whether, in such testing times, we need that?! There are so many who are talking about depression, anger and hate and, whilst that can be good and constructive, too much of it does drag you down. Instead, with some shiny production, catchy choruses and a sense of the bright, the band bring something more encouraging, enriching and escapist to the party – whilst still able to write about subjects that are quite personal and raise their eyebrows when needed. Not long before the album came out, Laura Hayden and Harry Balazs spoke with Dork about When We Land and what defines their music:

“...This is how an evening out with Anteros goes. There’s a palpable energy that jumps out from being in their company, a band bustling with ideas, creative outlets, hilarious stories but also an understanding and perspective of what they want to be and what they want to mean in 2019 - it’s a ride that captures a band on the cusp of a thrilling journey.

IN THIS PHOTO: Laura Hayden/PHOTO CREDIT: Phoebe Fox for DORK

“Right now, we’re in a blissful in-between spot,” notes Laura, “because the album isn’t out yet but it is finished so I’m just really making the most of this moment because whatever happens when the album comes out, I feel like we’re proud of what we’ve made. We didn’t want to follow any trends; we wanted to stick to the music that we wanted to make and not try to go, well, what are we? Are we this or that? We were more like, if we want to chuck in weird fucking sounds, then we’re going to do that. Since the beginning, we’ve wanted to make music that’s not going to sit in an algorithm.”

From the very beginning, there was one philosophy that stood at the core of Anteros. A mission statement if you will. “There are no limits. That was the only goal, that there wouldn’t be any limits,” explains Laura. “We said the sky’s the limit, the longer we can do this for the better - and that it’s also okay to say that you want to do this for a long time.”

Joined by guitarist Jackson Couzens and bassist Joshua Rumble, that desire and standing as people that can’t be categorised into one lane has been a permanent one that’s risen from a young age.

“From a young age, you’re meant to know where you belong, and people project what they want for you, onto you,” recalls Laura. “If you dare try to get out of that it’s like, woah - wildcard! I didn’t fit into one type of person”.

In fact, those who feel that the fun tones and energy is backed by something quite throwaway and juvenile, some have labelled Anteros as being, at times, bitter and heartaching. It is clear that, since the very start, they have been keen to share their experiences but, even back in this 2018 interview there was a need to rebel against the darkness. Again, Laura Hayden explains why Anteros’ vision needed to be like it is:

“In a time where everything seems quite dark,” Laura begins - a vocalist with clear visions of the world she lives in, and how her band fits into it - “you wanna make people think. Not in a way that’s gonna make them cry, but it in a way that’s gonna make them stronger. It’s the natural thing for us to do, because that’s how we use music ourselves as people. ‘Drunk’, for example,” she continues, citing the band’s 2017 single, a track that comes complete with an invincible, funk-inspired strut”.

The band has grown in confidence and scope over the past few years and they continue to look ahead. There are loads of positive reviews out there for When We Land so ensure you grab a copy of the album and give it a good spin! The guys are heading up and down the county over the next few weeks so make sure you catch them and see what they are all about. Their live sets are always crackling and memorable so there will be many thrilled fans that will get to see their new album brought to the stage. It is exciting times for Anteros and, after a bit of a wait, it is good they have an album out. They will build from here and I think they occupy a very rare space. There are not that many bands who have the same balance and blend of sounds. When we are all feeling tense and unsure, Anteros provide us with some fist-pumping anthems and songs that will definitely bring a smile to the lips! I will continue to follow them because I feel they are a headline act of the future. This year’s festival headliners are, largely, not that exciting and fun so we need to foster bands like Anteros: bringing that determination, uplift and colour. They keep saying how they want to be different and, if there is an unusual sound that pricks their ears, they’ll chuck it in! This is a commendable attitude and something that will see Anteros remain and succeed. I will leave things there but I wanted to recommend the group because they are definitely someone you should seek out. Maybe you are unsure their music will suit you but fear not: one dip into their warm, vivacious and enticing water and you will be converted...

 PHOTO CREDIT: Anteros/Getty Images

RATHER quickly indeed.

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Follow Anteros

PHOTO CREDIT: DORK

Official:

https://www.anterosofficial.com/

Twitter:

https://twitter.com/AnterosOfficial

Facebook:

https://www.facebook.com/anterosofficial/

Spotify:

https://open.spotify.com/artist/7AgbaohUbhWwjjNKCSOB2x?si=17NVangUQX6vT_YnS8vGbg

Instagram:

https://www.instagram.com/anterosofficial/

YouTube:

https://www.youtube.com/channel/UCROoZf0WmbB3oV45RvYDO6Q/videos

SoundCloud:

https://soundcloud.com/anterosofficial

INTERVIEW: Katmaz

INTERVIEW:

Katmaz

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I have been speaking with Katmaz...

about his recent track, I’m Done, and how it began life. I ask the Brooklyn-based artist what the scene is like there; whether producing for other musicians helps elevate his own sounds and creativity – he selects a few albums that mean a lot to him.

I ask whether there are tour dates coming up and which approaching artists we need to watch; how he relaxes away from music and whether there is a standout memory that springs to mind – Katmaz selects a cool song to end the interview with.

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

Hello. The week has been great! There’s always a weight that is lifted when you release music.

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

My name is Matt Kaz. I go by Katmaz and I make all sorts of music for myself and others. 

Can you tell me about I’m Done and how the track came to you?

The song comes from frustration and letting go of that frustration. I wrote the music for I’m Done almost three years ago but it sat on the shelf until I faced a new challenge; then the lyrics just spilled out.

Is there going to be more coming, do you think, down the line?

Plenty more. I can’t release the details yet, but yes.

You have worked and produced for other artists. Do you feel that experience has made your own material stronger?

Absolutely. I learn something new from each artist I work with. I try to work with every genre of music and all types of artists. As Quincy (Jones) says: “There are only two kinds of music: good music and bad music”. 

When did music hit you growing up? Were you always exposed to a range of sounds?

Almost as soon as I can remember. I was five-years-old when I begged my parents to play an instrument. They presented me with drums or piano. I’m sure they were happy I chose piano. I was fortunate to grow up with music loving parents. My mom would be blasting some Whitney Houston while my father jammed out to Stevie Ray Vaughan.

You are based in Brooklyn. What is the music scene like there right now? Has it changed a lot through the years?

I love Brooklyn. I think the music scene is great and only getting better. I live in a house of music producers we call the WaveCave Studios. I’m trying to bridge some gaps and start throwing backyard concerts called WaveCave Concerts where we feature our artists and the artists we love of every genre. 

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

We performed at venue in Brooklyn called Elsewhere this past summer. I had a few of the artists/incredible singers I produce (and some I don’t) including Rasha Jay, Tan Brown; Griffin Garnett and Terrelle Tipton on stage with me. They sang my music and we covered Prince’s I Would Die 4 U. It was very powerful and awesome time! 

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

That’s a tough question but, off of the top of my head:

Radiohead - In Rainbows

This is my favorite album of all time. It’s perfect. I get excited about music when I can’t be sure what the artist is doing…and Radiohead always keeps you guessing.

Neil Young – Live Rust

Neil Young is one of my favorites and the rawness of his live show is incredibly inspiring.

Blind Melon – Soup

One of the first bands I fell in love with as a kid. This album doesn’t have any hits on it, but songs like Mouthful of Cavities and The Duke shaped me. They were extremely underrated and Shannon Hoon was a genius. R.I.P.

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

Right now, I think Foals are on top of the Alt-Rock game; I’d love to open for them. Their show is so energetic and fun. Beck is another one that I think I would fit as support very well.

As far as a rider...at least five puppies to roll around with before the show; twenty honey garlic Cajun BBQ chicken wings flown in from Bar-Bill Tavern in Buffalo, N.Y. - and a framed photo of Bill Murray.

Are you planning any gigs in the coming months?

Working on some local gigs at the moment.   

Might we see you in the U.K. in 2019?

I wish! Soon, though.

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

I prefer performing to everything. There is nothing more fun than being on stage…except maybe being in the studio and coming up with something great collaboratively…yea…

 IN THIS PHOTO: Psychedelic Porn Crumpets/PHOTO CREDIT: Nici Eberl

Are there any new artists you recommend we check out?

If you haven’t heard of LP, go check out her music now. Her voice is UNDENIABLE. I’m into Foals’ new record and Psychedelic Porn Crumpets rock my world. And then, of course, artists I am producing. Rasha Jay has a single called Red Coats that rocks. On the radar we have Chelsie Denise who is an incredible R&B singer that reminds me of Whitney Houston (the music industry needs Chelsie). For dance we have FAB and on the Hip-Hop side check out Jimi Tents and 718 Spank.

 IN THIS PHOTO: Chelsie Denise

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

Not much time to get away, but I love films and the occasional video game.

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).

Psychedelic Porn Crumpets – Denmark / Van Gogh & Gone

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Follow Katmaz

Official:

https://www.katmaz.com/

Twitter:

https://twitter.com/katmazmusic

Facebook:

https://www.facebook.com/Katmazmusic/

Spotify:

https://open.spotify.com/artist/4Dftsi4jmHTG1FVqugzP1h?si=M9CwbFX2RbKc8LfJCZd4Ug

Instagram:

https://www.instagram.com/katmazmusic/

YouTube:

https://www.youtube.com/c/KATMAZ

PHOTOS:

@kellykazphoto

FEATURE: How to ‘Disappear’ Completely: Do We Put Too Much Pressure on Artists When It Comes to Album Releases?

FEATURE:

 

 

How to ‘Disappear’ Completely

IN THIS PHOTO: Sky Ferreira at Deadline Studio Portraits during Sundance in Park City, Utah on 22nd January, 2018/PHOTO CREDIT: Michael Buckner/Deadline/REX/Shutterstock

Do We Put Too Much Pressure on Artists When It Comes to Album Releases?

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ALTHOUGH the ‘cover artist’ is Sky Ferreira...

 IN THIS IMAGE: The cover for Sky Ferreira’s debut album, Night Time, My Time (2013)/ALBUM PHOTO: Gaspar Noé

my point relates to a wider field. I must admit that I do not listen to her music much but there has been a lot of talk because she is returning with a new album. The fact that my article – and many others out there – use words like ‘disappear’ when referencing her shows what attitude we have when it comes to artists who take time to ruminate and spend time on their work. Downhill Lullaby is a new single from her and, whilst she has not put out an album since 2013’s Night Time, My Time, she is someone who refuses to put out anything that is untrue and has little meaning. Her new song is, as you can see, pretty atmospheric and intense. It is not what one would expect from a Pop act today and, rather than conforming to a commercial sound and replicating what is already out there, she  is treading her own path and unwilling to be rushed. When speaking with Pitchfork she explained the pressure that has been put on her and how she approaches work:

“Released in October 2013, Night Time, My Time was a rare major-label triumph of craft over product, a purposeful barrage of seething recriminations coated with ’90s-grunge textures and ’80-pop incandescence. It sounded like “My So-Called Life”’s Angela Chase mainlining John Hughes films and channeling her existential anguish into a record—except Night Time was the vision of a 2010s 21-year-old, and the truths were all hers.

Naturally, all of this—the anticipation, the unfulfilled promises, the time lapsed since her last release—is adding to the pressure she puts on herself. She feels like she has to explain. “It wasn’t by choice.” It wasn’t creative paralysis, nor was it a creative hiatus. “I wasn’t just taking time for myself the last five years.” During that time, she landed a half dozen movie roles, but she says she didn’t decide to focus on acting instead. “I never stepped away from music.” She alludes to vague external hindrances: “I’ve been at the mercy of people the last few years”; “gatekeepers”; “the rug pulled out under me”; a “someone at my label” who undid the generous arrangement she had to work with Kanye West musical director Mike Dean; and the very real issue of a young woman telling men what she wants and not settling for less.

“I don’t have a back-up plan,” Sky says. “I never have. I don’t have an education. I don’t know how to, like, play music in the [traditional] sense. I’m socially awkward and stuff—I couldn’t really do a lot of other jobs either,” she says. “Literally, there’s no other option for me. So this has to work”.

It is clear that Ferreira has had a lot on her shoulders and, rather than rush something out or be pressed when it comes to deadlines. NME reacted to the news that her new album has arrived after six years and, when you think about it, it is not a huge gap at all:

“Admittedly ‘Masochism’ does feel like it has taken forever. After all, we now live in an age where the tiniest scraps of information are available instantly. With a few taps on a touch screen it’s possible to find out what shoes Harry Styles wore two weeks ago on Monday, whether St Vincent prefers tacos or burritos, and which Top 40 singers suffer from hayfever.

It’s a modern phenomenon that Sky Ferreira understands well, too – every time she opens her mouth, it seems, her remarks are plastered all over the internet five minutes later. A post from 2017, which discussed at length various logistical issues and the importance of sticking to her guns – “I didn’t wait this long to put out the bare minimum” she wrote – was turned into a single snappy headline. Sky Ferreira is“ Putting out Something Soon”.

Let’s be real, here – six years isn’t a lifetime. By resisting the pressure to squeeze out a mediocre EP to tide everyone over – by knowing when to step away – Sky’s set herself up for a blinder. Her debut remains one of the most exciting alt-pop releases of the noughties, and from this point on, it’s all in ‘Masochism’s hands”. 

PHOTO CREDIT: @danedeaner/Unsplash 

It is definitely worth checking out the interview she gave with Pitchfork because it gives more depth and background regarding Ferreira’s work and process. She is an example of someone who released a promising and interesting debut and, invariably, there were all these questions regarding the next album and when she would grace us with more music. There have been occasions when artists have left a big gap between releases and, whilst it can seem like it commercial risk, it is actually a way of recharging and making music without that pressure. Many are calling Sky Ferreira’s new work a ‘return’ but, when you think about it, she has not left or been quiet – just working on different stuff but never leaving the music industry. Now that she has music out there, it is going to be digested and the reviews will come through. I wonder, after a six-year gap, whether people will ask whether we have to wait this long again for another album. We get into the habit of excepting records from artists every year or two and, if they take some time out and work on other stuff, then people start speculating and feeling they have retreated. Every corner of the industry, I feel, does have these expectations and, in a high-paced world, we all get impatient and expect stuff to happen right away. It might be fair enough to get a second album from a shining artist after a few years and, whilst taking longer might threaten momentum, we cannot rush people. There is so much anxiety in music and so many young artists are suffering because of it.

 IN THIS PHOTO: Rita Ora took six years to follow her debut album, Ora (2012), but, like many artists, the gap paid dividends and meant she could create something that was a development and move forward/PHOTO CREDIT: Rex

In many cases, spending longer away and really working on an album can give new life and be worth it. Other big artists, like Rita Ora, have taken six years to follow from a debut (last year’s Phoenix followed Ora), but they are rare cases. Even if there is a few years between albums, I do not think we need to be so tough and feel artists feel small. In many cases, touring takes up a chunk of time and many need time to address their personal lives and unwind. I think we overlook how intense the music industry is and what the daily cycle is. It can take a long time making sure an album is good and will be a success and, after that, you tour it; there is that need to create something after that which is different but sounds like you – it is quite daunting these days! This idea of an artist ‘disappearing’ is quite troubling. I understand fans might get restless and curious but we tend to ignore the wishes of an artist and why they might need some more time. I do feel, more and more, we are less album-orientated and just tend to pick singles – so why pressurise artists to create an album when we do not listen to the whole thing?! Maybe it is not easy to correct but there is a bit of a mental-health crisis happening. In music, there is so much competition and choice that it can have a really damaging effect on an artist.

 PHOTO CREDIT: @simon_m1/Unsplash

If a label or the public expects new music at a regular interval then that can lead to poor quality and pressure. Rather than rattle out albums every couple of years and compromise evolution for commercial satisfaction, it is worth asking whether we should encourage more acts to take some time out and, for the sake of some wagging tongues, focus on themselves. I think quality and personal satisfaction far outweighs streaming figures and other factors. It can be quite hard for fans to have to wait a while for material from their favourite acts but we need to be a bit more patient, I guess. I am the same as everyone and often check anxiously if a few years have passed and there is not another album out. Do not assume that an artist has gone away and retired if we do not hear a whisper for a bit. It makes Sky Ferreira’s new music so interesting. It is clear she has spent her time wisely and used it to make music that holds great quality and depth rather than rushing it and regretting her decision. I respect those who can risk gossip and a dent in their fortunes if it means they look after themselves and spend some time to create the music they want to. It is risky, yes, but the alternative is worse: you will burn out and that anxiety can cost more than a record deal and some streaming figures. Rather than judge artists who take a while to release albums and figure they have just dropped away, respect that some do need a bit more time to percolate and create. There is this pull between keeping relevant and staying in the public focus and making work that feels true and is not too rushed. Get it wrong then that can be disastrous so, for that reason, we need to encourage all artists to work at a speed that...

PHOTO CREDIT: @paullywooten/Unsplash

SUITS them best.

FEATURE: The Rise of Punk, David Bowie Gold and a Sense of Revolution: The Best Albums of 1977

FEATURE:

 

 

The Rise of Punk, David Bowie Gold and a Sense of Revolution

IN THIS PHOTO: David Bowie posing in 1977/PHOTO CREDIT: Masayoshi Sukita 

The Best Albums of 1977

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WHEN I was thinking about my favourite song and...

 IN THIS PHOTO: Sex Pistols captured in a cheeky shot from 1977/PHOTO CREDIT: Bob Gruen

album of all time yesterday, it struck me that both can be limited to a very narrow frame in time: 1977 and 1978. My favourite album, The Kick Inside, was released in 1978 and saw Kate Bush producing a breath of fresh air against the Punk movement. My favourite song, Deacon Blues, is from Aja – a Steely Dan masterpiece released in 1977. That year boasts so many terrific albums and there must have been something in the air back then! I wonder why I gravitate towards this year but, as you will see from this collection of 1977-released albums, there was something magical happening. It was a tragic year for musician losses – including Elvis Presley and Marc Bolan of T. Rex – but, in terms of the music being produced, it helped lift the gloom and provided huge inspiration for artists coming through. Took a look at these enormous albums from a year that, aside from 1994 and a couple of years in the 1990s, is almost...

 IN THIS PHOTO: Talking Heads photographed in Amsterdam in June 1977/PHOTO CREDIT: Gijsbert Hanekroot/Redferns

IMPOSSIBLE to beat.

ALL ALBUM COVERS: Getty Images/Spotify

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The Jam – In the City

Release Date: 20th May, 1977

Producers: Vic Coppersmith-Heaven/Chris Parry

Label: Polydor

Standout Tracks: Art School/I Got By in Time/Time for Truth

Review:

“On their debut, the Jam offered a good balance between the forward-looking, "destroy everything" aggression of punk with a certain reverence for '60s beat and R&B. In an era that preached attitude over musicianship, the Jam bettered the competition with good pop sense, strong melodies, and plenty of hooks that compromised none of punk's ideals or energy, plus youth culture themes and an abrasive, ferocious attack. Even though the band would improve exponentially over the next couple of years, In the City is a remarkable debut and stands as one of the landmark punk albums” – AllMusic

Key Cut: In the City

Fleetwood Mac – Rumours

Release Date: 4th February, 1977

Producers: Fleetwood Mac/Ken Caillat/Richard Dashut

Label: Warner Bros.

Standout Tracks: Dreams/Don‘t Stop/Go Your Own Way

Review:

“Setting aside the weight of history, listening to Rumours is an easy pleasure. Records with singles that never go away tend to evoke nostalgia for the time when the music soundtracked your life; in this case, you could've never owned a copy of it and still know almost every song. When you make an album this big, your craft is, by default, accessibility. But this wasn't generic pabulum. It was personal. Anyone could find a piece of themselves within these songs of love and loss” – Pitchfork

Key Cut: The Chain

Television – Marquee Moon

Release Date: 8th February, 1977

Producers: Andy Johns/Tom Verlaine

Label: Elektra

Standout Tracks: Venus/Elevation/Prove It

Review:

“Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group's long, interweaving instrumental sections, not through Verlaine's words. That alone made Marquee Moon a trailblazing album -- it's impossible to imagine post-punk soundscapes without it. Of course, it wouldn't have had such an impact if Verlaine hadn't written an excellent set of songs that conveyed a fractured urban mythology unlike any of his contemporaries. From the nervy opener, "See No Evil," to the majestic title track, there is simply not a bad song on the entire record. And what has kept Marquee Moon fresh over the years is how Television flesh out Verlaine's poetry into sweeping sonic epics” – AllMusic  

Key Cut: Marquee Moon

Sex Pistols – Never Mind the Bollocks, Here’s the Sex Pistols

Release Date: 28th October, 1977

Producers: Chris Thomas/Bill Price

Label: Virgin

Standout Tracks: Holidays in the Sun/God Save the Queen/Anarchy in the U.K

Review:

“Musically, Never Mind the Bollocks, Here’s the Sex Pistols is just about the most exciting rock & roll record of the Seventies. It’s all speed, not nuance — drums like the My Lai massacre, bass throbbing like a diseased heart fifty beats past bursting point, guitars wielded by Jack the Ripper-and the songs all hit like amphetamines or the plague, depending on your point of view. Rotten’s jabbing, gabbing vocals won’t leave you alone. They either race like crazed, badly wounded soldiers through fields of fire so thick you can’t tell the blood from the barrage, or they just stand there in front of you, like amputees in a veterans’ hospital, asking where you keep the fresh piles of arms and legs” – Rolling Stone   

Key Cut: Pretty Vacant

David Bowie – Low

Release Date: 14th January, 1977

Producers: David Bowie/Tony Visconti

Label: RCA

Standout Tracks: Breaking Glass/Warszawa/Art Decade

Review:

“Speed of Life opens the album with a jolt thanks to Ricky Gardiner's sharp guitar. The more lengthy and suspense-filled Warszawa, was used to open the 1978 and 2002 tours. It made sure that the audience were on tenterhooks until Bowie took to the stage.

With its texturing, layering and juxtaposing of random sounds and instruments, including an eventide harmonizer, Low is certainly an ambitious album and one that wasn't well-received by critics at the time. It does, however, show a Bowie who was had turned 30: a man growing up, coming into his own.

Without Low we’d have no Joy Division, no Human League, no Cabaret Voltaire, and I bet, no Arcade Fire. The legacy of Low lives on” – BBC

Key Cut: Sound and Vision

Ramones – Rocket to Russia

Release Date: 4th November, 1977

Producers: Tony Bongiovi/Tommy Ramone

Labels: Sire (U.S. and U.K.)/Philips (Europe)

Standout Tracks: Rockaway Beach/Teenage Lobotomy/Do You Wanna Dance?

Review:

“Forty years on, punk is now twice as distant from us as the birth of rock n’ roll was from it; one wonders if a contemporary teenager would even “get” the Ramones now that punk has been splintered and scattered into tiny fractions of its aesthetic and ethos reflected in everyone from Julien Baker to Lil Uzi Vert. Contemporary teenagers, in any case, aren’t the target market for this reissue. This is strictly for those of us old enough to remember when loud guitars could still sound new and fresh and dangerous (and, frankly, for those of us wealthy enough to blow 65 bucks on a deluxe box set).

As a document of those final days of the relevance of punk rock proper—before the endless mutations that gave us the last 40 years of “alternative” music, before ur-punks like the Ramones gave in to commercialization, self-parody, and diminishing returns—it’s a vibrant and refreshing listen. Punk is dead, and has been since before most people knew it was alive, but for a few hours, at least, this set may help convince you otherwise” – SLANT

Key Cut: Sheena Is a Punk Rocker

Steely Dan – Aja

Release Date: 23rd September, 1977

Producer: Gary Katz

Label: ABC

Standout Tracks: Black Cow/Peg/Josie

Review:

“Considering the final count of musicians who appear on ‘Aja’ eventually clocked in at a mammoth thirty, a result of the constantly interchanging studio personnel, the album is brilliantly cohesive. As on most Dan records, it is Fagen the reluctant singer who binds the different elements together with his languid vocal delivery.

On ‘Black Cow’, impeccable Jazz-funk instrumentation is partially disguised, book-ended by pop-music melodies to create genuinely groundbreaking textures. Lyrics sparkle with wit and cynicism throughout, betraying a sense of humour so oblique it is easy to overlook completely (“My back to the wall/A victim of laughing chance/This is for me/The essence of true romance”).

To many, Steely Dan epitomise all that is bad about high-brow rock snobbery. With their oh-so-clever literary references and muso-tendencies, they are the total opposite of the debauched rock ‘n’ roll primates that preceded and followed them.

But to defy Aja’s majesty would be to commit an act of snobbishness equal to any that its creators may be guilty of. Nearly 25 years on, it remains a benchmark for complex, polished, intelligent music. Not that Walter Becker and Donald Fagen would ever have settled for anything less” – Drowned in Sound

Key Cut: Deacon Blues

Kraftwerk – Trans-Europe Express

Release Date: March 1977

Producers: Ralf Hütter/Florian Schneider

Label: Kling Klang

Standout Tracks: Europe Endless (Europa Endless)/The Hall of Mirrors (Spiegelsaal)/Franz Schubert

Review:

“There is an impressive composition paying homage to "Franz Schubert," but the real meat of this approach is contained in the opening love letter, "Europe Endless," and the epic title track, which shares themes and lyrics with the following track, "Metal on Metal." The song "Trans-Europe Express" is similar in concept to "Autobahn," as it mimics the swaying motion and insistent drive of a cross-continent train trip. What ultimately holds the album together, though, is the music, which is more consistently memorable even than that on Autobahn. Overall, Trans-Europe Express offers the best blend of minimalism, mechanized rhythms, and crafted, catchy melodies in the group's catalog; henceforth, their music would take on more danceable qualities only hinted at here (although the title cut provided the basis for Afrika Bambaataa's enormously important dancefloor smash "Planet Rock")” – AllMusic

Key Cut: Trans-Europe Express (Trans Europa Express)

Talking Heads – Talking Heads: 77

Release Date: 16th September, 1977

Producers: Tony Bongiovi/Lance Quinn/Talking Heads

Label: Sire

Standout Tracks: Uh-Oh, Love Comes to Town/Tentative Decisions/The Book I Read

Review:

“This is the band that had its early critics talking about minimalism and, like Jonathan Richman, Talking Heads do indeed triumph by the economy of their sound. But where the ingenuous Richman is dangerously precious, there is no nonsense about Talking Heads. Byrne’s spare guitar patterns, Jerry Harrison’s modest keyboard fills, Martina Weymouth’s understated bass and Chris Frantz’ efficiently Spartan drumming convey a taut earnestness that’s bursting with energy.

“The Book I Read,” like so many of their songs, burbles with excitement, a feeling of expansion overcoming restraint. “Pulled Up” is the real champ, though, a fiercely exhilarating rush of aural amyl nitrate.

Vocally, Byrne’s live-wired personality vibrates his precise musical framework like a caged tiger rattling its bars. (That he sings in a stiff, reedy, “bad” voice, grasping for higher notes like a drowning man lunging for air, only heightens the drama.) Exploring the logic and disorientation of love, decision making, ambition and the need for selfishness, he gropes for articulation like a metaphysician having difficulty computing emotions” – Rolling Stone

Key Cut: Psycho Killer                                                        

The Clash – The Clash

Release Date: 8th April, 1977

Producer: Mickey Foote

Label: CBS

Standout Tracks: Janie Jones/I’m So Bored with the U.S.A./Career Opportunities

Review:

“Even at this early stage, the Clash were experimenting with reggae, most notably on the Junior Murvin cover "Police & Thieves" and the extraordinary "(White Man) In Hammersmith Palais," which was one of five tracks added to the American edition of The Clash. "Deny," "Protex Blue," "Cheat," and "48 Hours" were removed from the British edition and replaced for the U.S. release with the British-only singles "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail Guitar Doors," all of which were stronger than the items they replaced. Though the sequencing and selection were slightly different, the core of the album remained the same, and each song retained its power individually. Few punk songs expressed anger quite as bracingly as "White Riot," "I'm So Bored with the U.S.A.," "Career Opportunities," and "London's Burning," and their power is all the more incredible today. Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash. [In 2000, Columbia/Legacy reissued and remastered the album to include the U.K. songs]” – AllMusic

Key Cut: White Riot                                                            

Bob Marley & The Wailers – Exodus

Release Date: 3rd June, 1977

Producers: Bob Marley & The Wailers

Label: Island

Standout Tracks: Exodus/Jamming/Waiting in Vain

Review:

“1977's Exodus-- recorded in London exile after a failed attempt on his life-- turned out to be Marley's biggest-selling studio album. Recently, Time magazine tapped it as the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus-- compare and contrast the urgent title track and the laid-back "Jamming"-- shows a pop star at the peak of his powers.

For better or worse, it's Marley's mellower side that sets the tone of Exodus. It may have come off nuts at the time, but Robert Christgau's comparison of late era Bob Marley to Steely Dan isn't totally off base. Songs like "Waiting in Vain" and "Turn Your Lights Down Low" are first and foremost smoooooooth, and if chants like "The Heathen" and "Guiltiness" hint at a certain call to action, the presentation trumps the message. "Exodus" may make you want to rise up and fight on the side of Jah, but the message you take from the album as a whole is the one delivered in "One Love" and "Three Little Birds": "Don't worry about a thing/ Cause every little thing gonna be all right," goes the latter; "Let's get together and feel all right," Marley says in the former” – Pitchfork 

Key Cut: Three Little Birds                                                

David Bowie – “Heroes”

Release Date: 14th October, 1977

Producers: David Bowie/Tony Visconti

Label: RCA

Standout Tracks: Joe the Lion/Blackout/The Secret Life of Arabia

Review:

“‘Neukoln’ drops us off in one hell of a bad neighborhood.  Stark and haunted by the looming ruins of an industrial past. Superficially, this may come off as glum self-indulgence to some. But this is truly an existential cry of pain. Another example of this album wearing its raw emotions on its sleeve. Bowie’s sax wailing away among the gloom and doom. I suppose here the case could be made for this being Low II.  Then all too suddenly, we're tossed into the disco. Here the album ends on an almost schizophrenic note with the coyly oblique, ‘Secret Life of Arabia’. Suddenly it’s time to dance, with Bowie crooning, “You must see the movie, the sand in my eyes, I walk through a desert song when the heroine dies.” Its here you realize Bowie’s backing band consists of some truly formidable R & B musicians. Namely, Carlos Alomar, George Murray and Dennis Davis. Believe it or not, the same band that played on Low. And this is part of Bowie’s genius. To put himself and others in unfamiliar territory and see what happens. 

Did I say genius? Yes, I think Bowie was a genius. Part of being a genius is knowing what’s important and what’s not. And Bowie had that. Obtuse, weird and disjointed as it all is, ‘Heroes’ shouldn’t work but does. Bowie was a keen practitioner of William S. Burroughs’ cut-up technique and more than any Bowie album, ‘Heroes’ feels like it was cut up and pasted together. Yet, somehow the glue holds. Here Bowie revels in the seedy underbelly and decadent nightlife of a haunted city, teetering on the brink. As he sings in ‘Sons of the Silent Age’ this record truly does sound like, “listening to tracks by Sam Therapy and King Dice”. If Low was the sound of breaking up, ‘Heroes’ is the sound of breaking free” – Soundblab 

Key Cut: “Heroes”                                                               

INTERVIEW: lennixx

INTERVIEW:

lennixx

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THE epic lennixx have been talking to me...

about their new single, Bad Bird, and how it started life. I was eager to know how they formed and how the music comes together – the duo tell me what lies ahead and reveal some albums/artists who mean a lot to them.

I ask the Swedish-based duo what the scene is like for them and whether there will be tour dates; if they have a favourite memory from their career so far; which artist they’d support if they had the time and what advice they’d give to musicians coming through – lennixx pick a great track to end things on.

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

Hi, guys! We are feeling great at the moment. We have been in the studio working on new music this week, so that is always fun. The week gets better straight away.

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

We are a duo called lennixx and we released our debut mix-tape last autumn called hapap. Now, we most-recently released our new single, Bad Bird. We love to play around with our voices and try out different harmonies in different ways. We are very unrestricted when it comes to genres and what our music sounds like - and we like to try different things and see what works for us.

What is your new song, Bad Bird, about? How did it come together?

Bad Bird is about a toxic relationship that has come to an end when the person in question tries to ruin things for you because they are overwhelmed by bitterness. Instead of dealing with it in a healthy way, they just try to turn everyone against you and make up dishonest rumors and talk badly about you. In the song, we reply with “I have my real friends who will always have my back/and I couldn’t care less what you have to say about me”. It was written when we just wanted to express our feelings about a certain situation in the studio.

How do songs come to you? Do you set time aside to write or is there a structure to your writing process?

We write both lyrics and melodies both in sessions and outside of sessions. Usually, the song comes together in the studio, though. The writing process can, at times, be that you start on your own on something – like an idea – and then it all comes together when we work at it in the studio. It’s usually easier to capture feelings in action, like if you think about something – it could be on a plane or the Tube or whatever you just write it down.

How did lennixx form and what was it that attracted you to one another?

We fit really well together, both personally and musically. We formed our sound together. So, it wasn’t like we were aiming to sound like a specific genre or anything – we just worked until we found what we wanted to sound like. We complete each other very well both with our voices, in songwriting and our artistry.

Do you think your music and style has changed a lot since the start?

Yeah. We think that it has changed a lot since we first started. We released our first song in 2016 and we didn’t really have a clue about what we wanted to do. It became more natural once we had more involvement in the songwriting process. You also grow up and you get new perspectives about yourself and your artist career so of course the music changes with that.

Being based in Sweden, how strong is the music coming from there right now?

Sweden has always been one of the major actors in music exports and still is today. However, we aren’t really a part of that genre or style that Sweden is mostly known for. It could be negative for us, like people assume that we are two typical Scandi-Pop girls just because we are from Sweden. But, it could also be positive for us since we do something complete different from what most Swedish music usually sounds like.

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

Our favourite memory was when we wrote one of our songs on our first mixtape called HER. It was the first time we felt: this is us. This is our vibe. Then we really found something that was special for us.

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

Andrea: SZA – Ctrl

Because you can listen to the album back-to-back and all the songs are great. You don’t skip any of them.

Hanna: Amy Winehouse - Back to Black

All the songs work in every situation - and whatever you are feeling. 

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

It would definitely be Frank Ocean and our rider could perhaps contain a bed, a masseur and a juicer. That would be cool!

What advice would you give to new artists coming through?

To stay true to yourself and continue do what you really believe in. Your gut is ALWAYS right and, if you like it, someone else will too. 

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

Yeah. We are playing different shows all over Sweden this year. You can catch our tour dates on our social media!

Will you be coming to the U.K. at any point?

Yes. We are coming to the U.K. to play in the fall - and hopefully during the summer too!

 IN THIS PHOTO: Summer Walker

Are there any new artists you recommend we check out?

Summer Walker, Little Simz and Ama Lou are all amazing.

 IN THIS PHOTO: Little Simz

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

We don’t really like to chill that much right now because we enjoy working a lot. But, when we do, we like to hang out with friends, watch series and sleep.

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).

Hanna: I Want You Around – Snoh Aalegra

Andrea: Tried Up – Ama Lou

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Follow lennixx

Twitter:

https://twitter.com/lennixxduo

Facebook:

https://www.facebook.com/lennixxduo/

Spotify:

https://open.spotify.com/artist/0hdACQBYpPV7hL1VBEmHH6?si=YvKKUDKOT8y_zUjhdoYRdA

Instagram:

https://www.instagram.com/lennixxduo/

YouTube:

https://www.youtube.com/channel/UCHUazlqhEERxgmTv68ucpdg

PHOTOS:

Paul Shutrick

FEATURE: A Needle into the Veins: Celebrating the Album-Dissecting Podcast

FEATURE:

 

 

A Needle into the Veins

PHOTO CREDIT: @skylarfaithfilm/Unsplash 

Celebrating the Album-Dissecting Podcast

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I have just finished listening to a great podcast...

 ALBUM PHOTO: Robert Freeman

that brings together well-known people who talk about the records of The Beatles – and the solo albums from the four members. It is called I am the EggPod and, in the most-recent episode, Matt Everitt (drummer with Menswear (and others) and BBC broadcaster) chatted with the host, Chris Shaw about Rubber Soul. It was a great investigation and passionate study of an album that, to me, is the finest thing from The Beatles – Everitt clearly agreed and, for different people, Rubber Soul is the finest moment. I love that album because I remember being played it as a child and staring at the great cover – the four guys dressed in suede, looking cool with their famous haircuts. On the I am the EggPod episode, Shaw and Everitt went through each track and gave their impressions. I know an awful lot about The Beatles’ 1965 album but, throughout, I was learning stuff that was new to me! There were elements that were revealing – Rubber Soul being this percussion-heavy record – and great stories/facts relating to the band and song inspiration. I was captivated throughout and, knowing which song was coming next, I was excited to see what details would be revealed and how everything came together. Check out the podcast – because it is dope as hell – and there are quite a few episodes up already that study Beatles albums and great releases from the lads.

There are more to come and, when you discover a podcast/series that takes the care to dissect albums, it speaks to the true music lover. I think, in a streaming time where we all are busy and do not necessarily listen to albums all the way through, it is rare to hear forensic shows that take apart records and go through them song-by-song. Consider all the classic albums that have been released and the sort of facts and tales we are not aware of. There used to be the classic album series on stations like VH1 where we’d see producers and artists involved in records such as Graceland (Paul Simon). It might have appealed more to the adults but, as a child, I loved seeing these documentaries where time was spent going through a record and discussion inspiration and creation. Long ago, we all used to be much more attached to the album as a concept and thing but, through time, I think we have become more trained towards singles and pick-and-mix sort of listening. Now that music T.V. is not really a big thing, how often do we see series that look at the great albums and look at the songs in such detail? We have moved to the Internet and podcasts and, luckily, there are people who still keep this passion alive. You can check out great music podcasts and specialised podcasts that investigate some big albums and talk about them in real detail.

 PHOTO CREDIT: @neilgodding/Unsplash

The problem today, I think, is the dizzying array of options out in the market and how we get to grips with it all. If you are interested in The Beatles’ catalogue or you have a fondness for Classic Rock gems, how simple is it get all the related podcasts together so you do not miss a beat? Search engines help out but it can be hard typing in the right words; some might be missed off of searches so, oddly, podcasts that dissect music and really go into detail might be overlooked or lost completely. I do like the fact that, even in a digital age, those who are setting up their podcasts realise how vital albums are and the fact these classics have remained because we all listened to them in depth – rather than picking out a few tracks and skipping all the rest. There might be options out there – I am a bit too nervous to look – but I was inspired by the I am the EggPod series and think it would be great to do a similar series. I am fascinated by Kate Bush so either doing a like-minded one about her or having a podcast that dedicated a series to particular artists. The first might be about Kate Bush and then Madonna; moving onto Radiohead and then onto Queens of the Stone. I guess, in some form, all of these artists have had an episode dedicated to them and their albums.

 IN THIS PHOTO: Queens of the Stone Age (who have a rich body of work that would surely make for a great podcast series)/PHOTO CREDIT: Zoe McConnell

There are some great music podcasts around but I have a special fondness for those that focus on an album and unravel it; getting to the heart of the songs and providing context. Maybe it is more impactful when we talk about classic albums but there are records from the past few years that could benefit from a throughout look. Are we still as invested in the album as an artform or do we prefer the odd song and leave it at that? It is hard to say but I do worry that some great albums of this decade will, in years to come, not resonate that hard because we stream them and handpick songs as opposed listening from start to finish. Everyone who loves music loves an album and we all have out top-ten/twenty records. I have not done proper research but I wonder whether there are podcasts that look at great records by Radiohead, Steely Dan and Björk?! Maybe a series that, like I said, looks at one artist and their work and then moves onto another. That would be cool but, I guess, when it has been done once then it is hard to repeat it and add new light. It is ironic that we are less album-orientated now than ever but there are endless choices when it comes to album studies – more than there was when VH1 and MTV ruled. Maybe it is a rebellion against the culture and our fondness for those classic examples.

 IMAGE CREDIT: MTV

I think, when we know more about an album, the greater attached we become and it actually provides new insight – I am going to listen to Rubber Soul soon and pick up on stuff that was covered in the I am the EggPod episode. I listen to that album as a purely sonic experience and, to me, it is mostly about the band interplay and harmonies. Now I have heard Matt Everitt talk about Rubber Soul, I am drawn to percussion details and know more about the songs and their origin. It is great, so many years down the line, to learn new things about an album you think you had figured. It makes me excited to hear what else is out there and, indeed, if some of the ideas I have lobbed out have already been covered – I hope one or two are still free! I do worry we are losing that passion for albums and do not really hold the same fondness. Where will we be in a couple of decades and how many of the albums from the time will be picked apart and celebrated as much as the all-time greats?! If anything, these album-dissecting podcasts rekindle our love of albums and make us realise why we love them in the first place. I am off to listen to Rubber Soul and, after I am done, I am minded to see if I can formulate my own podcast/series and take apart an artist’s treasured catalogue. It is wonderful hearing people speak passionately about their favourite albums and addressing every song. At a time when we are all rushing around and skipping through tracks, it is nice to be able to hear these podcasts, take a step back; relax and hear these big albums...

 PHOTO CREDIT: @jonathanvez/Unsplash

GIVEN proper respect.

FEATURE: Vinyl Corner: Radiohead – The Bends

FEATURE:

 

Vinyl Corner

IMAGE CREDIT: Stanley Donwood 

Radiohead – The Bends

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THIS might not seem like it is directly related to...

 IMAGE CREDIT: Icon/Lisa Bunny Jones

Scott Walker but, when paying tribute to him yesterday, I saw a tweet from Radiohead’s Thom Yorke - the Radiohead frontman expressed his sadness and stated how important Scott Walker was to him. It is clear that Walker influenced the band and, especially, Yorke. In some ways, when Thom Yorke belts out a tune and has that operatic tone, I often think of Scott Walker. In any case, that got me to thinking of Radiohead and an album I have not featured for a while. The Bends is my second—favourite album ever – behind Kate Bush’s The Kick Inside – and one that changed Indie-Rock in the 1990s. It was released on 13th March, 1995 and, in terms of progression, it was a huge leap for the band. Their debut, Pablo Honey, was met with muted applause and, aside from the epic Creep, there was not that much on the album that turned heads. Few expected something as rounded, confident and consistent as The Bends only a couple of years after their debut. There was a sense that Radiohead would not really survive that long and appeal much. They had some commercial successful but a lot of critics were writing them off after their first album. Produced by John Leckie and engineered by Nigel Godrich (who would go on to produce their albums hereafter, including The Bends’ follow-up, OK Computer), The Bends moved from the Grunge-sounding debut and incorporated greater range. There were more abrasive guitar sounds but greater melody, experimentation and stronger lyrics – perhaps more cryptic and developed than what we heard on Pablo Honey.

 IN THIS PHOTO: Radiohead (circa 1994)/PHOTO CREDIT: Getty Images/Press

Look back at the sort of T.V. focus Creep was receiving in 1993 and, since its release the year before, Radiohead were synonymous with this one hit. Many wrote off Radiohead because of the Grunge tones and felt that, in many ways, they were a British version of Nirvana. It is easy to compare Creep with Nirvana but, in many ways, Pablo Honey was ignored because many lazily linked Radiohead and Nirvana. The sudden rise and success got to the band and there were occasions when the pressure almost broke them up. Creep became this all-conquering monster and there were tensions in the band. Maybe it was the attention Creep was getting but there was this feeling that, unless changes were made and the band moved somewhere new, they would not survive at all. Armed with a batch of new songs and keen to follow up their debut, Radiohead began recording at RAK Studio and had a deadline of October 1994 to get the album recorded and released. The fact that it was only a year since Pablo Honey, it felt rushed and there was this pressure for Radiohead to follow up their debut with something superior. EMI were eager for the band to release their next step and they wanted a lead single out. Not sure which one that was going to be, Sulk, The Bends; Just and (Nice Dream) were all worked on.

The band was determined to make something different to Pablo Honey but the early stages were frustrating and tense. They were not sure which single to focus on and, in terms of getting a new sound, they were not sure what that would be. Their lead guitarist Jonny Greenwood grabbed some rented guitars and amps and tried out something a bit different. The band were trying all this different stuff but, when it came to progress, there was a bit of a stall. Yorke especially was getting tense and frustrated by the lack of development. John Leckie urged Yorke to record some songs on his own, on guitar, and see what came about. Throw into the mix the band had a tour scheduled for the summer of 1994 and it was clear that The Bends would not hit the shelf that October as planned. Whereas there was tension and uncertainty at RAK, the band then moved to the Oxfordshire studio complex The Manor and were making more progress. Recording ended at Abbey Road Studios and, after a long time of getting things together and making that next step, it looked like Radiohead were heading in the right direction. The Bends, again, has an American-influenced sound but it is not a Grunge-heavy album. Beautiful acoustic numbers like Fake Plastic Trees and haunting tracks such as Street Spirit (Fade Out) represent the leaps the band took whilst the more experimental and unique guitar sounds heard on The Bends and Just signalled they had entered a new phase.

There was a bit of Britpop flavour – tracks like High and Dry, I guess – but, away from the heavy celebration of Britpop, Radiohead were sort of outsiders. Their sound owed more to what was happening in America and, at a time when there was nothing quite like The Bends out there, Radiohead helped inspire bands with their mature and instantly affecting tracks. Yorke’s lyrics had a bit of the personal but there were more cryptic numbers and a wider look at the world. Interested in more than matters of the heart, Fake Plastic Trees addressed commercial developments and high-rises whilst Sulk tackled the Hungerford massacre – hardly the cheery jubilance of their Britpop peers! It was impressive to see a band, only on their second album, writing about non-commercial sides of life and producing this more mature, challenging and nuanced album. On My Iron Lung, there were signs that Thom Yorke’s depression – which would become more public – was starting to affect his songwriting. He still felt the pressure on the band and the fatigue of the last couple of years. That sense of weight would continue for a while – as the band became huge and there was pressure to tour – but, in terms of songwriting, The Bends represented a seismic leap! When it was released on 13th March, 1995 there were some who were very unkind and unimpressed! Some saw Radiohead these game-changers who created an identity after their debut; a band who were whipping something rawer and original into a Britpop-heavy scene.

 IN THIS PHOTO: Radiohead (circa 1994)/PHOTO CREDIT: Getty Images/Press

Others felt the album lacked depth and (The Bends) was overblown – most of the negative press arrived from America. Maybe, here in Britain, there was a need for something more American or harder: a sound that created a bit of excitement and changed the Indie-Rock scene. The different sound in the U.S. meant that, when The Bends arrived there, some were more tepid. This is how SPIN documented The Bends upon its release:

“The Bends is never “Creep”-like enough, but “My Iron Lung” (a late Beatles pastiche with surprise noise) and “Just” (which seems to swipe powerchords from “Smells Like Nirvana” by “Weird Al” Yankovic)come close. There’s more nice guitar gush (e.g. the sub-Tom-Scholz anthemic stairclimb of “Black Star”), but the rest of the album mostly reminds me of Suede trying to rock like Sparks but coming out like U2, or (more often) that hissy little pissant in Smashing Pumpkins passive-aggressively inspiring me to clobber him with my copy of The Grand Illusion by Styx. Too much nodded-out nonsense mumble, not enough concrete emotion”.

The Oxford-based band could have felt discouraged by some mixed reviews and, tucked away where they were, there was not an awareness of the true popularity of The Bends. Radiohead rose in popularity and, soon enough, The Bends began inspiring other bands. Against the more bombastic Rock of Oasis, the sweeping falsetto of Yorke – partly inspired by Jeff Buckley and Grace – changed minds and, with his Scott Walker-like beauty, this new idol was born.

Bands and artists were experimenting more with high-pitched vocals and more emotive songwriting – one can trace the birth and popularity of Coldplay to The Bends. It is remarkable to me that The Bends received anything of less than impassioned praise when it came out in 1995. It appeared there was this divide between the U.S. and U.K. and how Radiohead’s second album fitted in. A tonne of retrospective acclaim has helped push the album to more people. AllMusic, writing in 2011, gave their thoughts on The Bends:

“Pablo Honey in no way was adequate preparation for its epic, sprawling follow-up, The Bends. Building from the sweeping, three-guitar attack that punctuated the best moments of Pablo Honey, Radioheadcreate a grand and forceful sound that nevertheless resonates with anguish and despair -- it's cerebral anthemic rock. Occasionally, the album displays its influences, whether it's U2, Pink Floyd, R.E.M., or the Pixies, but Radiohead turn clichés inside out, making each song sound bracingly fresh. Thom Yorke's tortured lyrics give the album a melancholy undercurrent, as does the surging, textured music. But what makes The Bends so remarkable is that it marries such ambitious, and often challenging, instrumental soundscapes to songs that are at their cores hauntingly melodic and accessible. It makes the record compelling upon first listen, but it reveals new details with each listen, and soon it becomes apparent that with The Bends, Radiohead have reinvented anthemic rock”.

 IMAGE CREDIT: Stanley Donwood

Whilst many prefer what Radiohead would create with OK Computer (1997) and Kid A (2000), I prefer The Bends because of the leaps from Pablo Honey and the fact that it hits me harder. OK Computer would bring more electronics and darker tones in but I love the fact that, in 1995, there was nothing like this in British music! Critics were fully on board by 1995 (in this country at least) and Radiohead gained fresh confidence. As this article from Popmatters shows, The Bends was the start of this immense and always-evolving rise:

“During the 20 years that followed the 1995 release of the Oxfordshire group's sophomore album, Radiohead didn't just become a highly acclaimed and popular band. Both of those descriptions are accurate, but they're also huge understatements for a band of this stature. With LPs like 1997's OK Computer and particularly 2000's Kid A, Radiohead became icons, rock gods to whom a sea of groups would aspire to. Kid A is often called the definitive record of the '00s; OK Computer regularly dukes it out with works like My Bloody Valentine's Loveless for the same title in the '90s.

This 1995 gem, while representative of Radiohead in a more nascent stage, is still chock full of the things we have come to love about this British quintet: clever guitar riffs, Thom Yorke's high tenor, and lyrics that capture the social isolation so common in a modern technological society”.

Part of the charm of The Bends is the mystery and the cryptic edges. There are so many subjects addressed but is there an overriding truth and theme? Diffuser asked the same questions:

“Peel away the levels and layers of ‘The Bends,’ and you’d still have a hard time uncovering the heart of the record. Its elusiveness is part of its appeal. ‘Creep’ was easily digestible within the post-‘Smells Like Teen Spirit’ / ‘Loser’ landscape; the songs on ‘The Bends’ less so. They take some work and determination to penetrate their purpose and meaning. Even if you’re not sure what ‘Fake Plastic Trees,’ ‘Just’ and ‘My Iron Lung’ are about, their gorgeously rendered surroundings will pull you in. It’s challenging music but undeniably perceptive”.

The leaps and progression between Pablo Honey and The Bends was immense. Many did not expect such strength from the band. As Consequence of Sound said back in 2015 there was this sense of immense progression and self-discovery:

“So what do Radiohead’s undisputed craftsmanship and self-projection add up to here? After all, the one great theme of this work is that it’s thrilling because it’s just so unassuming. An acoustic-sounding guitar, bass, drums, and striking synth harmonically open up lyricism that creates new possibilities for improv. At the time, no one would have dreamed there was anything lyrical or lean coming from a band who two years prior wrote a song called “Anyone Can Play Guitar”. Yorke’s best lines sound less like they’ve been written with force and more like they’ve just seeped from a conversation or personal thought. “You can force it, but it will not come/ You can taste it, but it will not form,” he murmurs on “Planet Telex”. And later, “Everything is broken/ Everyone is broken” finds him flippant without apology, cerebral without warning. “All your insides fall to pieces,” goes the line from “High and Dry”; returning seconds later with a hurt soaked in passive bitterness, he sings: “You will be the one screaming out”.

Radiohead would create grander and more ambitious works but, considering they were on the verge of splitting after their debut album, it is amazing that they managed to produce something as complete and game-changing as The Bends! Aside from the opener, Planet Telex – which I maintain is a poor opener -, the programming is perfect. The Bends is neither top nor bottom-heavy and, instead, you get a great mix. From the title cut coming in second, through to the gentler and more emotive High and Dry and Fake Plastic Trees. Bones arrives and then, almost in the centre, comes another move back to the more tender and soft with (Nice Dream). In the opening half, there are those switches between raucous and intense to the gentler. Two huge hits are covered in the top half – The Bends and Fake Plastic Trees – and (Nice Dream) is kicked away by the mighty Just. My Iron Lung, keeping the quality razor-sharp then follows and, after two intense tracks, Bullet Proof ... I Wish I Was offers something introspective, sobering and heartbreaking. Before that can fully settle in, Black Star and Sulk crank the volume back up and, as we started with something uplifting and electric, there is a more spectral and devastating end: the gorgeous and brilliant Street Spirit (Fade Out).  A brilliant album should start with one of the strongest tracks and, logically, end on the strongest.

Radiohead would have achieved that if they put The Bends as the opening number but one cannot deny it is impossible to follow Street Spirit (Fade Out)! It is a song that takes the breath and sort of drains you – in a very good way. So much ground is covered in eleven tracks and all of them are sequenced so that we get this nice balance of moods and textures. I bet Radiohead never thought, back in 1994, they would be able to create something as enduring and spectacular as The Bends. If you can grab a vinyl copy then do so. It is a wonderful album and, just over twenty-four years after its release, I do wonder whether another band has taken such a leap and, indeed, whether an album as good as it has been released. Many argue Radiohead themselves bettered The Bends but, away from them, I cannot think of anyone who can make such a claim. Listen now and it sounds fresh and inspiring. The beauty and range of Thom Yorke’s voice amazes whilst the band’s huge sonic variety and experimentation adds a huge amount of weight and story to each song. The guitars are unlike anything I had heard at that point and The Bends as a whole was a revelation in British music. It continues to influence musicians and that will be the case for decades to come. If you are new or familiar with 1995’s The Bends, go grab a copy of the album on vinyl, then you can hear the blood, sweat and fears…

IN THIS PHOTO: Radiohead in New York in 1995/PHOTO CREDIT: Getty Images/Press

IN a perfect, eye-opening way.

INTERVIEW: Luxley

INTERVIEW:

PHOTO CREDIT: Ollie Alexander  

Luxley

___________

MY first interview of the week is...

with the fantastic Luxley. He talks about his new E.P., Chromatics, and a rare condition called chromasthesia; what the music scene is like in New Orleans and the artists/sounds that inspire him – he tells me who he’d support on tour and what his rider would be.

I ask which three albums are most important to him and what he wants people to get from his E.P.’s messages; whether he will come to the U.K. at all and which rising artists we should follow – he selects a great track to end things with.

____________

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

It’s been a great week so far - despite the lack of sleep. I’ve been finishing a record, full-time bartending to support myself and promoting my recent record, Chromatics.   

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

My name is Ryan Gray. Some people just call me Luxley. I was born and raised in New Orleans, Louisiana. My artist name, Luxley, comes from the word, lux, which means light in Latin. I live with a condition called chromasthesia - where I see music in color. It’s also how I write my music.

PHOTO CREDIT: Joseph Frierson

I started Luxley when I left medical school in 2012. I had been producing music as a creative outlet while studying medicine at Tulane University in New Orleans, LA. I wrote my first record E.P., Spirit, while bartending full-time. It was co-produced by Ayad Al-Adhamy (ex-member of Passion Pit, Team Spirit) and engineer/mixer Justin Gerrish (Vampire Weekend, The Strokes). I had the amazing opportunity to have the E.P. featured in NYLON magazine, among other online blogs like EARMILK, The Huffington Post and Interview Magazine (founded by Andy Warhol).

Chromatics is your new E.P. What inspired its creation and what was it like putting it together?

Chromatics is an expression of my chromasthesia - a condition where I see sound as color. I discovered it when I got into a car accident when I was younger. I didn’t know how to describe the experience until I went to medical school and found literature describing it. This record is much different from my last. Chromatics is a departure from the traditional studio model of working with an outside producer.

After spending a lot of time experimenting on synths, electronics and getting to know myself more as an artist, I realized that I was passionately building a vast library of colorful sounds, textures and Pop-centric melodies that would eventually become the virtual worlds found on the record. The songs are arranged by the colors that I see and the track artwork corresponds to the colors that I see when hearing the songs. The biggest driving force for this new record is having people see the colors that I see and have them experience the feelings created by the color spectrum of the record.

Is there a song from the set that you would consider a favourite?

Near Me tends to be my favorite. I always recommend people spinning the Chromatics record while exercising or doing activities that force you to use ear buds. Immersive listening really enhances your experience with the colors of the record.

The tracks are arranged in order of colour - and it is clear the E.P. is very personal. What do you want people to take away from Chromatics?

I want people to take away the colors from the record and have the opportunity to listen to music differently by visualizing colorscapes and experiencing the unique feelings painted by them. I don’t believe you have to have chromasthesia to perceive music this way: it’s something more than that because it’s found in the universal element which I playfully denote as ‘Lx’. Lx is the element that relates to the act or quality of seeing music in color and it’s found outside ourselves. It’s free for all of us who really want it. 

PHOTO CREDIT: Justine Bird

How did you get into music? Was it something you were passionate about from a young age?

When my parents got divorced at a young age, I found solace by teaching myself music by ear. I really couldn’t find happiness outside of music because of the family strife. I taught myself how to play piano when they bought me one before the separation. I immediately became passionate about learning other instruments like guitar, bass; audio electronic devices and vocals. I quickly moved to writing my first songs on guitar and eventually on synthesizers.

Being based in New Orleans, how important is the music of the city and the people regarding your work?

The influence of New Orleans has really grounded me on organic instrumentation because live music is a foundation of the culture. New Orleans’ influence has become more evident in my latest record, Chromatics, as well as my next one (currently untitled). Reggae, Jazz; Blues and Funk are popular genres in the New Orleans music culture and they seep into tracks like Near Me (Reggae), No. 4 (Blues) and Take a Chance (Funk). The next record incorporates more Jazz and brass-band instrumentation, which are both staples of the New Orleans music culture.

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

930 Club in Washington, D.C. on October 20th, 2014. I played to a sold-out crowd on my birthday with Bombay Bicycle Club and Milo Greene.  I never mentioned it to the crowd that night, but I will never forget the celebration that ensued afterwards with Bombay Bicycle Club and Milo Greene in the basement of the 930 Club.

It makes me tear up when I think about that night.

PHOTO CREDIT: Ollie Alexander

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

Friendly Fires – Pala (a band based out of St. Albans, England)

This record re-instilled my passion for music and how I see it in color. I could literally describe all of the colors of this record in real-time if we did a listening party.

311 – From Chaos (a band based out of Omaha, Nebraska)

This record taught me so much about how to be confident and believe in yourself as an artist. This is one of the bands playing when I got into the car accident when I was younger. 

Jimmy Eat World – Futures (a band based out of Arizona)

This record taught me how to tell emotional stories through music and how to express yourself with it in a beautifully raw (Rock) manner.

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

Luxley, Tycho; Pretty Lights, Angele or ZHU.

Rider:

Craft cocktail mini-bar: I’d like to bartend for all of artists on the bill; stage and production crew and media personnel after the show. They would need to try the You Got the Lux? cocktail.

The bar would need to be stocked so that I could serve my old-fashioned riff:

§  Toasted sesame-infused rye whiskey

§  Banana

§  Rhubarb.

PHOTO CREDIT: Joseph Frierson

o   Additional bar stock: wine selections of old and new world wines (white and red), a few bottles of Dom Perignon and Monkey 47 Gin.

·         A small D.J. booth so that a local artist or musician fan could be featured.

·         Colored lighting.

·         Personal chef who bakes amazing breads.

·         Hummus, charcuterie boards and fine cheese selections.

·         A closet or safe place to store all of my colored jump-suits.

Are you planning any gigs in the coming months?

No.

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

In the long-term, I prefer the process of writing more than anything but the momentary experiences of performing live are unparalleled. I have big plans for a really vivid and unique live show in the future.

Will you come to the U.K. during 2019?

Unfortunately I won’t be, but I’ve heard from many people that I should get my music represented more in the U.K. because my style would be most receptive there.

Are there any new artists you recommend we check out?

Angèle, Chris Malinchak; Poolside and Weval.

 IN THIS PHOTO: Chris Malinchak

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

I get very little time to step away from music because I currently work as a full-time bartender to support myself and the Luxley project. When I’m not bartending, I’m writing and promoting music. If I step away from everything to get fresh air, I go for a bike ride; swim, box or indulge in the exquisite food and cocktail culture of New Orleans. From time to time, I’ll try and catch Electronica shows at the Techno Club or Republic in New Orleans.

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).

Angèle – Flou

___________

Follow Luxley

PHOTO CREDIT: Ollie Alexander 

Twitter:

https://twitter.com/luxleymusic

Facebook:

https://www.facebook.com/Luxley/

Spotify:

https://open.spotify.com/artist/3LNGNFeeTJLmIKIEdvssds?si=En9VLTnLSbecOAbJ7sJneQ

Instagram:

https://www.instagram.com/luxley/

SoundCloud:

https://soundcloud.com/luxleymusic

FEATURE: The Peerless and Unique Scott Walker: His Five Best Solo Studio Albums

FEATURE:

 

The Peerless and Unique Scott Walker

IN THIS PHOTO: Scott Walker (circa early-1970s)/PHOTO CREDIT: Getty Images/Press 

His Five Best Solo Studio Albums

__________

MANY great articles have emerged today...

PHOTO CREDIT: Jamie Hawksworth

that remember and pay tribute to the peerless Scott Walker. His death, at the age of seventy-six, came as a huge shock - and we are not sure of all the details yet. As a musician and human, he was so different to anyone out there and he truly captivated. His wonderful music will continue to inspire and I do hope that many new fans pick up his records and discover this wonderful musician. The voice, to me, is the thing that stands out. Its range, depth and authority made every song – whether with The Walker Brothers or solo - stand out and resonate. It is sad that we have to say goodbye but, in his life, Walker managed to achieve so much and provide incredible songs – they will live through the ages and we will never forget him. There are so many wonderful records from Scott Walker (I recommend you own them all) but, if you want to come down to the top-five solo studio efforts then I have been having a think. Here, in my view, are the definitive solo Scott Walker records that ever fan and new follower...

 PHOTO CREDIT: Steve Pyke

SHOULD seek out.

ALL ALBUM COVERS: Getty Images

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Scott 2

Release Date: March 1968 (U.K.)/July 1968 (U.S.)

Producer: John Franz

Labels: Philips/Smash (U.S.)/Fontana

Key Cuts: Black Sheep Boy/The Girls from the Streets/Windows of the World

Review:

“And his own songwriting efforts hold their own in this esteemed company. "The Girls From the Streets" and "Plastic Palace People" show an uncommonly ambitious lyricist cloaked behind the over-the-top, schmaltzy orchestral arrangements, one more interested in examining the seamy underside of glamour and romance than celebrating its glitter. The Brel tune "Next" must have lifted a few teenage mums' eyebrows with its not-so-hidden hints of homosexuality and abuse. Another Brel tune, "The Girl and the Dogs," is less controversial, but hardly less nasty in its jaded view of romance. Some of the material is not nearly as memorable, however, and the over the top show ballad production can get overbearing. The album included his first Top 20 U.K. hit, "Jackie" – AllMusic

Standout Track: Jackie

Scott 3

Release Date: March 1969

Producer: John Franz

Labels: Philips/Fontana

Key Cuts: Rosemary/30 Century Man/If You Go Away

Review:

“It's not just admirable to see him exploring new musical approaches, but also a reward for us fans to not hear yet another replica of Scott 1. Making the gentle and dreary sound of Scott 3 a welcomed breath of fresh air. Its ominous atmosphere and haunting sounds exude a rather spellbinding effect on the listener, alluring us deeper and deeper into a world of inescapable darkness. But there is a mild sense of optimism that glimmers behind all of the sorrow. One of the techniques that recurs throughout the album is the combination of melancholic orchestrations with Scott Walker's usage of a soothing vocal tone, adding a sense of hope to all of this emotional anguish. Scott 3 may not offer the accessibility of its predecessors, but it does prove that Scott Walker can go beyond the capabilities of the average pop artist. As we find him shifting his venturous instincts into different and utterly dashing shapes" – Sputnik Music  

Standout Track: Copenhagen

Scott 4

Release Date: November 1969

Producer: John Franz

Labels: Philips/Fontana

Key Cuts: The World’s Strongest Man/Duchess/Get Behind Me

Review:

“Scott 4 contains, for the first time, all original material and was released under the name Noel Scott Engel. The short, breathtaking album displays his full range as a songwriter and performer. The orchestrated arrangements are scaled back, with newly prominent guitars; elements of jazz, folk, country, rock, soul and even choral music add diversity. Some of the lyrical topics are new as well: totalitarianism on "The Old Man's Back Again (Dedicated to the Neo-Stalinist Regime)" and militarism on the sprightly but cynical "Hero of the War." Other highlights include the gloriously melodramatic spaghetti western-style homage to Bergman ("The Seventh Seal"), the rousing "Get Behind Me" and the understated country twang of "Duchess" and "Rhymes of Goodbye." That said, there's not really a weak link among these ten tracks. Unfortunately, what should have been Walker's finest hour heralded the start of a decline as, mysteriously, the album flopped and was soon deleted" – Trouser Press   

Standout Track: The Seventh Seal

Tilt

Release Date: 8th May, 1995

Producers: Scott Walker/Peter Walsh

Label: Fontana

Key Cuts: The Cockfighter/Face of Breast/Patriot (A Single)

Review:

“"The Cockfighter" is underpinned by an intensity that is almost industrial in its range and raucousness, while "Bouncer See Bouncer" would have quite a catchy chorus if anybody else had gotten their hands on it. Here, however, it is highlighted by an Eno-esque esotericism and the chatter of tiny locusts. The crowning irony, however, is "The Patriot (A Single)," seven minutes of unrelenting funeral dirge over which Walker infuses even the most innocuous lyric ("I brought nylons from New York") with indescribable pain and suffering. Tilt is not an easy album to love; it's not even that easy to listen to. First impressions place it on a plateau somewhere between Nico's Marble Index and Lou Reed's Metal Machine Music -- before long, familiarity and the elitist chattering of so many well-heeled admirers rendered both albums mere forerunners to some future shift in mainstream taste. And maybe that is the fate awaiting Tilt, although one does wonder precisely what monsters could rise from soil so belligerently barren. Even Metal Machine Music could be whistled, after all" – AllMusic   

Standout Track: Tilt

Soused (with Sunn O))))

Release Date: 21st October, 2014

Producers: Scott Walker/Peter Walsh

Label: 4AD

Key Cuts: Brando/Bull/Fetish

Review:

“Yet Soused is surprisingly melodic, Sunn O))) provide a menacing but rich backdrop to Walker’s distinctive baritone. The sound palette may have changed, but Walker’s lyrics address familiar themes: totalitarian states (a mother hiding her babies from “the goon from the Stasi” in Herod 2014); humankind’s brutality (a crucifixion in Bull); and the movies (the sadomasochistic Brando, with its references to Marlon). And the loneliness of the long-distance pop singer is spelled out on Lullaby, a 1999 Walker song first recorded by Ute Lemper: “The most intimate personal choices and requests central to your personal dignity will be sung” – The Guardian    

Standout Track: Lullaby                        

FEATURE: Another Icon Leaves Us: The Great Scott Walker

FEATURE:

 

Another Icon Leaves Us

IN THIS PHOTO: Scott Walker/ALL PHOTOS/IMAGES: Getty Images/Press

The Great Scott Walker

__________

IN the last few moments...

news has broken regarding the death of Scott Walker. It is not long since we said goodbye to Dick Dale and Keith Flint and it seems like another icon has left us. I saw the news reported by 4AD and it has been shared on social media. They report the following:

“It is with great sadness that we announce the death of Scott Walker.  Scott was 76 years old and is survived by his daughter, Lee, his granddaughter, Emmi-Lee, and his partner Beverly.

For half a century, the genius of the man born Noel Scott Engel has enriched the lives of thousands, first as one third of The Walker Brothers, and later as a solo artist, producer and composer of uncompromising originality. 

Scott Walker has been a unique and challenging titan at the forefront of British music: audacious and questioning, he has produced works that dare to explore human vulnerability and the godless darkness encircling it. 

Noel Scott Engel was born in 1943, the son of an Ohio geologist.  He began his career as a session bassist, changing his name when he joined The Walker Brothers.  The 1960s trio enjoyed a meteoric rise, especially in Britain, where hits like 'The Sun Ain't Gonna Shine Anymore’ attracted a following to rival that of The Beatles.

But the superstar lifestyle and fame was not for Scott.  As an only child, he had grown up in the kind of rich, slow solitude in which imagination could flourish, and he retreated from the limelight, returning as a solo artist to release a string of critically acclaimed albums, Scott, Scott 2, Scott 3 and Scott 4.  He disappeared until the late 1970’s, when The Walker Brothers re-joined for their last album together and then a solo album in the 80’s.

Another long silence and Scott then re-emerged in the 90’s and onwards with lyric-driven works that deconstructed music into elemental soundscapes.  Drawing on politics, war, plague, torture, and industrial harshness, Scott’s apocalyptic epics used silence as well as real-world effects and pared-back vocals to articulate the void.  Sometimes gothic and eerie, often sweepingly cinematic, always strikingly visual, his works reached for the inexpressible, emerging from space as yearnings in texture and dissonance. 

From teen idol to cultural icon, Scott leaves to future generations a legacy of extraordinary music; a brilliant lyricist with a haunting singing voice, he has been one of the most revered innovators at the sharp end of creative music, whose influence on many artists has been freely acknowledged.  The scope and dynamism of his vision have added dimension to both film and dance, and he has stunned audiences with music whose composition transcends genre, and whose sheer originality defies pigeonholing. 

In her foreword to Sundog, the 2017 volume of Scott’s lyrics, novelist Eimear McBride had this to say of the musician’s remarkable contribution:

“Walker’s work, as Joyce’s before it, is a complex synaesthesia of thought, feeling, the doings of the physical world and the weight of foreign objects slowly ground together down into diamond.  It is Pinter-esque in its menace but never shies from naked emotion... This is work that does not speak of danger, it feels like it.” 

In 2017, the BBC paid tribute to Scott with a Proms concert at London’s Royal Albert Hall.

We are honoured to have worked with Scott for the last 15 years of his life”.

It is another bleak day for music and, as we have just gotten through the horror of losing a couple of huge names, we have to do the same again. Few of us realised Walker was ill so this news has come out of the blue. To me, his voice and music is like nothing else and, in a world where there are few unique artists, his death leaves a very big hole. To me, Scott 2, is his best album and that 1968 treasure defines who Walker is as an artist. The sheer passion and gravitas in his voice; the way he articulates and the passion he brings to every performance – will we ever see his like again? The man was definitely a character and, whether he was disguising himself so he could watch a gig unrecognised or on the stage and singing to adoring masses, there was nobody like him, that is for sure. It is sad we have to pay tribute to another artist but, if you have not heard of Walker, make sure you do check him out. His music has inspired scores of other artists and it is impossible to say just how far his legacy and name spreads. Details will come through but it is another black day for music and one where we have to see a legend pass. It is a good time to revisit Walker’s rich catalogue and remind ourselves why he is regarded as one of the finest voices ever. Many will pay tribute to him today but, if you can, play the great man’s music and his incredible voice will take you…

SOMEWHERE wonderful…

FEATURE: Bringing It into Focus: Crediting the Great Photographers Who Make Artists Look Great

FEATURE:

 

Bringing It into Focus

PHOTO CREDIT: @kit96/Unsplash

Crediting the Great Photographers Who Make Artists Look Great

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THERE have been a few occasions over...

 PHOTO CREDIT: @zaccastravels/Unsplash

the past few weeks where photography and accreditation has been thrust into my world. A couple of weeks back, rather randomly, I was approached via email by someone who stated I used his photograph for an article. To be fair, I did, and it was years ago. I shall not name him or the article but it was a shot of a band I found on Google that I needed to fill a space. I was looking around to see who took the photo and, although the shot appeared on a few different pages/blogs I could not find the name of the credited photographer. Of course, like every shot I use, I always try and find a name that I can credit and make sure that I do not let that slip. On this occasion, it was difficult to do so I just labelled it, I think, ‘Getty Images’ – it seemed like a press shot and, if I could find a name later, I would add it in. I had been warned by some that photographers are pretty protective and many can get quite angry when it comes to this sort of thing. Suffice to say, the email(s) I received were not that warm and, actually, legal action was threatened – the man, as he said, decided not to do that as he was a nice guy (that slipped me by!). I could appreciate his point regarding his work: if you use someone’s photo then you need to ask or pay for it.

 PHOTO CREDIT: @charleypangus/Unsplash

He kept going on about me stealing from him and it was like I was taking cash from his wallet. The fact I do not earn money from anything I publish means I would not have been making money and, if I asked for permissions for a non-commercial publication, it would be unfair to charge me to pay for a single photo like that. That particular arse-wipe was a bit of an anomaly when it comes to photographers. Another time, last week, I was sitting in a coffee shop right next to BBC’s Broadcasting House and I heard a group of photographers talk about companies like British Airways using their photos without permission. This one bloke was particularly vocal about the matter and how they did not approach him regarding commercial release; he would have provided a fee estimate and worked that out. He was pretty passionate about his corner and I could agree with him. If you have a big organisation that is using photos for big campaigns and making money from it then it seems unfair that they would take it for free. I do not know how that issue was resolved but I think there was some sort of challenge. Most of the interactions I have had with photographers has been pretty positive. In a lot of cases, they will email me a link to their website and ask that it be added.

 PHOTO CREDIT: @glennvandewiel/Unsplash

I always look for this but, on some occasions, I just include the name of a photographer without linking through to their website – that is my bad. They are happy for a shot to be used because it gives them more exposure and brings people their way. It is heartwarming when they are pretty tolerant and nice and, in fact, we all just want to make great work and give credit where it is due. I would be a bit annoyed if someone used my words to sell a product and made money but, if there was any other situation, that would be okay. Unless it was libellous or offensive, it would be great to see my words used elsewhere. The angry photographer, when emailing, suggested – in a rather snarky way – that I take my own photos and I would not run into situations. It is impossible for journalists to publish pieces and take their own photos. We rely on these professional shots for our work and, of course, cannot afford to do it ourselves – nor do we have the skills or time to go photo every artist we interview (in many cases, a lot of photos are about older acts and it is impossible to snap them). I can understand the fervour and anger when photos are used either uncredited or unpaid but most people do not do it deliberately – I always endeavour to give credit and make sure I am not ripping people off.

PHOTO CREDIT: @freestocks/Unsplash 

I have an enormous amount of respect for music photographers because they are the unsung heroes of the industry. Look at all the great shots out there and it is amazing to see how many timeless and eye-opening examples there are. Whether capturing a unique live moment or creating these ornate and cool portraits, the photographer is an essential cog in the music machine. Were it not for them then music would be so much duller and many artists would not get as far as they have. I see so many big websites not credited photographers and, whilst it is wrong of them, it makes me think about my situation. It is unreasonable and impossible for me to pay for every photo I use – as I use hundreds every month – but making sure that, where possible, photographers are credited is key. If I worked in a business where we profited from these images then I would make sure, in every case, photographers were being paid: it is not feasible for smaller blogs and people like me to stump that up and do this. I do agree, to a degree, with the angry photographers who are doing this hard work and then not getting credit. Think about the other side and journalists who never get paid and are trying to make this great work. They are never willingly looking to fleece anyone but, at the same time, everyone needs to respect that representation and credit is required. To be fair, I have only ever faced a few photographers in the last seven years and most are very nice.

 PHOTO CREDIT: @hannynaibaho/Unsplash

As I said, most are looking to have their work spread and they want more people to see what they do – having their images on other sites allows people to do that. I do think that we overlook photographers and assume that they are inessential in these times of Instagram. Everyone can take their own shots and, every day, we see an ocean of images uploaded to social media. There is a big difference between those amateur snappers who can put a filter on something and call it a photo and those who have dedicated their careers to capturing the finest shots around. Whether they are a newcomer photographer or work for a big publication, I am always stunned by the quality I see. I think, the more we can take photos easily, the less they are valued. So many people think that photographers are not required but look at the quality and imagination they bring and tell me that! Whether it is a booked shoot or someone takes photos at a gig, the process and expense is obvious. The photographer has their great gear – that costs many and is not cheap – and then they need to pay for travel and, a lot of times, tickets for the gig. They need to then take a few shots to get that perfect one and, after that, edit and post it online.

 PHOTO CREDIT:@yulokchan/Unsplash

It is a long process and one that costs them money – I do wonder how much profit there is when it comes to being a photographer. Consider all the realities then one can understand why there is frustration when someone sort of pinches their images. It is a hard situation because, on the one hand, you do not want to deny anyone credit and money but, again, there is an absolute need to use images and journalists cannot be without them. More often than not, when I have emailed a photographer asking for permission, they never respond. Once or twice, I contact them on Twitter and might get a response but it is often very hard. Most photographer are very gracious and nice so, if you are unsure, contact them and say what you are doing and whether it is okay to use an image – they are very warm and just want their work credited. I always look to hunt down the source and ensure that I give credit. The music industry is in a bad place and, with venues closing and everyone being able to take photos, one wonders how easy it is for photographers to thrive. I do not make any money from my work and wonder, with so little money available via advertising, how it is possible to sustain and be ambitious.

 PHOTO CREDIT: @5tep5/Unsplash

I have nothing but respect and solidarity for all the great photographers who make musicians come alive and reveal new sides. There are great articles that explore the relationship between photography and art; how some are professional and, to others, music photography is a hobby. In any case, we must ensure that all the fine work is given credit and, going forward, bring into focus how easy it is to use images. I am always uncomfortable when I cannot find a credit but, knowing how good the shot is, feel compelled to use it. It does bother me but there are endless sites and portals where one can get the same image and it seems like a bit of an impossible situation. I am not suggesting we go as far as making sure every image posted online is posted via a website where it gives credit and provides contact details of the photographer – you need to either credit them or contact them first. I have seen some pretty big sites not provide adequate credit so I feel like some system needs to come in.

 PHOTO CREDIT: @jan_strecha/Unsplash

If in doubt – and there is no credit – then track down the photographer and send them a quick email. Most do not charge and, for the most part as I said, they are all very nice. I endeavour to be as ethical and responsible as I possibly can and I know full well how hard it is to succeed and profit in an industry when so much is being given away. I feel that pinch so, if the boot were on the other foot, then I would be displeased. If you need a great photo for free then there are sites like Unsplash - https://unsplash.com/ - where you can grab them. This is the site I have used for the images for this piece and alongside each image there is a credit (making it nice and easy). If you have read this and feel that photography is a challenge and a harsh career then do not fear. It is a great medium and such a rewarding path. It is hard to make money at first but I know so many photographers who started on humble ground and are now taking images for some huge musicians. It is a great profession and one where you can reveal new sides to an artist. That sense of achievement is immense and you can make a good living from it. These are difficult times for everyone so I can appreciate frustration that comes from photographers when their images are used and we do not name-check them.

 PHOTO CREDIT: @danedeaner/Unsplash

I am minded to be more conscientious and aware but, going forward, what happens when there is a perfect image and I cannot find a name for?! The smart thing to do is to leave it but it worries me that there are so many shots being shared and, at no point, is anyone credited. I have seen the same happen for articles and features: someone will quote from someone else and not say who; hog the credit themselves and lift someone’s words. At the end of things, photographers are as important as anyone in music and they do sterling work. I love seeing all the hot new photographers emerging and how brilliant their work is. Without them, journalism would be poorer and we need to start respecting that. The odd brutal and unpleasant communication from a photographer seems like a small hit if it makes people like me more aware of what their lives are like. Similarly, nobody is trying to steal and be sneaky: we are all putting out work and doing our best to make sure we do not under-cut and steal. My features and interviews would not be the same were it not for the fantastic photographers who provide these rare and extraordinary snaps! They do brilliant work so let’s make sure we give them credit where it’s due. Think about all the great photos out there of established, iconic and newcomer artists and wonder where the music industry would be...

 PHOTO CREDIT: @photified/Unsplash

WITHOUT photographers.

FEATURE: Darkness on the Edge of Town: Can Other Musicians Follow Bruce Springsteen's Broadway Hit?

FEATURE:

 

Darkness on the Edge of Town

IN THIS PHOTO: Bruce Springsteen/PHOTO CREDIT: Danny Clinch for Variety  

Can Other Musicians Follow Bruce Springsteen’s Broadway Hit?

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ALTHOUGH the acclaimed Springsteen on Broadway...

 PHOTO CREDIT: Larry Busacca/Getty Images for NARAS

finished its run on 15th December – held at the Walter Kerr Theatre in New York – it is on my mind and I am still seeing article relating to its impact and reception. The residency consisted of Bruce Springsteen performing five shows per week from Tuesday though to Saturday. Previews began back in October 2017 and the ticket demand was so high that the show ran through 2018. There was talk, on 16th June, 2017, that Springsteen would be performing this small run of shows that brought his work to the stage. He stated that, during the residency, he wanted to achieve something intimate and personal; a show that was perfect for a beautiful and established theatre. There would be none of the usual glitz and atmosphere of a big arena: instead, Springsteen would cut a slightly modest figure performing his music in a rather modest and humble space. The show sort of divides between spoken word and singing. It is sort of a mix between a play and regular gig; something that is not often attempted. One associates Springsteen with these epic shows that pack in thousands; him belting out hits and receiving the sort of rapture that is reserved for a select few. Not that Springsteen on Broadway is the man in a book shop reading quietly where people casually listen. It is, in any case, a rare type of show for someone so established.

Over the past few years, Springsteen has spoken about his battles with depression and struggles. There are books detailing the stories behind his songs and one can read the man talk about his life in a very honest and open fashion. In essence, Springsteen on Broadway is the master sort of mixing his catalogue with revelations and stories. Many saw the show and many, including The Guardian enjoyed it thoroughly:

“Springsteen, famous for changing his set lists every night, has stayed on script. He stays in control of exactly how much he reveals, but does lift the veil, describing his whole career as “my magic trick” as he admits the artifice of his persona – the working guy who has never set foot in a factory, the rebel who was born to run, but lives 10 minutes from the town where he grew up.

At first, it is a simple run through his life story, interspersed with solo versions of career-spanning songs, Bruce alone at the piano, or centre stage with a battered acoustic guitar.

But as he moves from the narrow view of childhood, parents and hometown, his scope widens to take in America as he makes the case for the seriousness of the job he set himself, trying to both capture and account for his country. Born in the USA, once hijacked as a nationalistic rallying cry on the presidential trail by Ronald Reagan, is played as the raw protest song it was always intended to be.

People who have seen the show more than once say it has evolved as Springsteen relaxed into the material, becoming funnier and more topical”.

There was, after the show and its acclaim, a film on Netflix that captured his show/performance. Billboard talked in detail about it and what one could expect:

“The film follows the structure and song sequence of the Broadway show. But that sequence shifted slightly, late in the Broadway run, as Springsteen added “Long Time Comin’” to his performance. In the Netflix film, Springsteen’s rendition of the song follows a description of a late-life reconciliation with his beloved but troubled father, on the eve of the birth of his own first child—a story which has the singer wiping away tears.

If “Born To Run” is the inevitable closer for Springsteen On Broadway, that song also contains a lyric that truly sums up the quest of Springsteen and his fans most fundamentally: “I want to know if love is real.” As the song concludes, the singer slowly, rhythmically taps the body of his black acoustic guitar, creating a heartbeat, as the stage fades to black.

What’s remarkable is that, in the age of streaming, this keenly personal document will be instantly available to a potential audience of 130 million in 190 countries, according to Netflix. When you consider that Springsteen’s 14-month tour of arenas and stadiums between January 2016 and February 2017 reached some 2.5 million fans, the promise of the Netflix platform is clear”.

There is a new Bruce Springsteen film coming and it seems like things are pretty active in his camp. I wanted to concentrate on Springsteen appearing on Broadway because it is unusual but, as reviews and audiences have shown, very popular.

 IN THIS PHOTO: Bruce Springsteen onstage during a special performance of Springsteen on Broadway at the Walter Kerr Theatre on 14th March, 2018 in New York City/PHOTO CREDIT: Kevin Mazur/Getty Images for SiriusXM

Springsteen is often judged on his songs and people try and get a sense of who he is from them. We can get a sense of who is through his great numbers but interviews give a better impression of what he is about. It can be hard collating it all and, unless you read his autobiography, you might miss out. Even then, it might be difficult to bring things to life and unite his great music with his story. The remarkable revelation of Springsteen opening up on stage and creating this intimate-yet-powerful stage-show is inspiring. It has not happened that often but, given its success, one wonders whether more artists should try this. It is not as intimidating and impersonal as a gig but there is more story and life than a regular play/discussion. There are so many icons in the music world and very few have brought their stories to the stage. I have talked a lot about Madonna recently – regarding Like a Prayer turning thirty – and it seems like Springsteen-style show would really suit her music/story. How about Paul McCartney taking all his music to Broadway and sprinkling in anecdotes?! I think these two artists would be a huge smash and, whilst they are busy right now, a little way down the line might be a possibility. We are in a time when technology plays a big role and we have to accept rather ghoulish phenomenon like musical holograms – Roy Orbison has been brought to life that way; Amy Winehouse, sadly, might be on stage as a hologram/holographic image very soon.

The intimacy and simplicity of a great musician uniting theatre and live performance seems rare in this time. In a way, we get to reveal layers and to the heart of someone who, through songs and fame, can seem somewhat mysterious and oblique. One can write their own top-five lists of artists who could succeed in a similar environment and follow The Boss to the stage. Bob Dylan seems like an obvious name to include and I would love to hear Joni Mitchell talk about her early life and experience recording her album, Blue. It is thrilling imagining the legendary musicians who could appear on stage in the U.S./U.K. and what their show would look like. Bruce Springsteen is not the first artist to melt music and storytelling on the stage but, as I said, it is not that common in these times. I often think we digest music at such a rate and, even if we have such a passion for someone, do we take time to consider the songs or think about what the words mean? Past that, do we wonder where the artist came from and what drives them? Springsteen’s Broadway show attracted those who were not even huge fans of The Boss – curious to know more about a man who has helped change music. I have mentioned a few artists that would be great for a Springsteen-type show and, as we head through the year, surely others will be thinking about it.

 IN THIS PHOTO: Joni Mitchell photoed for New York Magazine in 2015/PHOTO CREDIT: Norman Jean Roy

The reason why Bruce Springsteen’s hit captured the imagination is because we got to see a more personal and intimate side of an artist known for a certain bombast, passion and energy. So many gigs, even from huge artists, do not have a lot of chat between songs and you do not really get a sense of how tracks came to be and who the artist is away from the stage. There are artists who do a Las Vegas residency – such as Elton John and Lady Gaga – but that is going in the other direction: a much more theatrical and glitzy show. Stripping away the layers and lights; having this different setting brings something new from artists we have not seen before. I love Bruce Springsteen’s work and wish I could have been in the Broadway audience. Now that the show has been performed and broadcast, many have a new fondness for Springsteen and he has recruited many new fans. I cannot wait to see where the ripples head and which other artists step in the same direction as the legendary Springsteen. We all know him from huge hits such as Born in the U.S.A., Born to Run and Dancing in the Dark but how much do we understand of the man behind the classics? If you can see Springsteen on Broadway then do as it is a magnificent thing and revelatory show! It seems like The Boss himself loved the experience and I hub it rubs off...

ON other artists.

FEATURE: Talking Heads: Music as a Powerful Form of Therapy

FEATURE:

 

Talking Heads

IN THIS PHOTO: Emilia Clarke/PHOTO CREDIT: Emilia Clarke/Facebook  

Music as a Powerful Form of Therapy

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I often wonder how far we can take music and whether it...

 PHOTO CREDIT: @zacfriesen/Unsplash

can be used as a multi-level form of therapy. It is already used for this very thing and, whether it relates to memory or physical recovery, there is huge power to be mined. At the moment, it is hard to say how best to harness music – across its layers, genres and time periods – and integrate it into mainstream medicine. I have written about music as a way to combat mental-health problems (or provide aid at least) and as a form of emotional support. Whilst it is hard to say how effective music is when it comes to physical improvement and faster recovery, there is still a way to go – we know that, in some cases, there is a link between music’s power and the impact it has on the body. I was struck by a story that sort of came out of the blue. It involve Game of Thrones actor Emilia Clarke and traumatic events she has gone through. In fact, as this BBC article explains she almost died from two life-threatening aneurysms:

“A Game of Thrones star has revealed she had to undergo brain surgery between two seasons of the hit series.

Writing in The New Yorker, Emilia Clarke said she suffered two "life-threatening" aneurysms.

The actor, who plays Daenerys Targaryen, underwent surgery twice, leading to "terrible anxiety" and panic attacks.

Despite thinking she would die, Clarke has now recovered beyond her "most unreasonable hopes".

The actress, who is from Oxford, plays a young princess sold into marriage who she describes as "a figure of power and self-possession"....

PHOTO CREDIT: @gpiron/Unsplash 

Clarke experienced her first aneurysm in 2011. She had been working out before collapsing in a toilet with "shooting, stabbing, constricting pain".

"In my worst moments, I wanted to pull the plug," she said. "I asked the medical staff to let me die."

She recovered enough to return to filming Season 2 of Game of Thrones but said: "I was often so woozy, so weak, that I thought I was going to die."

She says she is now "at a hundred per cent" and has helped develop a charity that supports people recovering from brain injuries and strokes”.

You can read about her experience in an article she wrote for The New Yorker and it is a very emotional and frank account. There has been a lot of reaction on social media and in the media regarding Clarke’s admissions and speaking out. It is hard to talk about something as saddening and traumatic as a brain aneurysm, let alone two. It seems like, let’s hope, she is okay now and she will not have to undergo anything like it again. It gets me thinking about her experience and how hard it must have been to talk about things. This article in Vogue explains her post-surgery life and how, in the face of a difficult time, she came out with something positive:

“Perhaps more important than her acute treatment, however, is what happened after she left the operating room. Following her first surgery in London in 2011, Clarke experienced aphasia - a condition that left her incapable of remembering her own full name. The experience nearly broke her: “I could see my life ahead, and it wasn’t worth living...

PHOTO CREDIT:  Carlota Guerrero for The New Yorker 

 I am an actor; I need to remember my lines.” Naturally, her second procedure in New York in 2013 triggered yet more frantic worry about cognitive loss. “Would it be concentration? Memory? Peripheral vision? Now I tell people that what it robbed me of is good taste in men. But, of course, none of this seemed remotely funny at the time,” she writes.

Clarke shares on the website for her newly-launched charity, SameYou. “As more people recover from brain injury and stroke because of improvements in acute care, we urgently need a major initiative to propel neurorehabilitation support services to the forefront.” Despite its relatively low profile in public health discussions, traumatic brain injury is in fact the leading cause of mortality in young adults. SameYou will work in partnership with the Royal College of Nursing, Stroke Association, Spaulding Rehabilitation Network, and Nursing Now to increase both funding and research.

In typically self-deprecating fashion, Clarke took to Instagram Stories to speak directly to her 19.1 million followers about the news, saying: “So, today is a doubly important day. Number one, I launched a charity, which is… sizeable. Number two, I learned how to use Instagram stories, possibly the more important one… There’s this thing where you swipe up - ahhh! - and that takes you straight to the charity webpage.” She continued on her main feed: “I kept quiet about something that’s happened to me for quite a few years…And I really sincerely would love to hear what you think. I’d love to hear your stories. Because that’s why I started this.” SameYou is now taking donations through its JustGiving page - and has racked up 37,000 followers on Instagram in less than 24 hours. Khaleesi would be proud”.

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🎉THE MOST EXCITING NEWS EVER FOR THE FIRST DAY OF SPRING!🎉 The charity I have been working on for a fair few years goes live today!!! 💥💥💥 @sameyouorg is full to bursting with love, brain power and the help of amazing people with amazing stories. @newyorkermag published my story, now I’d like to hear yours! #sameyoucharity #sameyourecovery #braininjury #letschangehowwehelp #letsbreakthesilence #youarenotalone #love #❤️

A post shared by @ emilia_clarke on Mar 21, 2019 at 9:03am PDT

I know there are thousands of people around the world who suffer physical, psychological and emotional trauma and I feel, hearing Clarke’s story, there is a chance to move music into a therapeutic setting. Her charity, SameYou, is racking up followers and, if you can, give a donation and help support a great organisation that is giving a voice to those who have gone through the same as her. I have already made an approach, through her agency, looking to bring my talents/blog to her charity. Not in a collaborative way but trying to set up an initiative where music events can raise funds for SameYou; open dialogue regarding music and how it can used to help in the recovery and treatment of patients. I am not sure how Clarke managed to get through her experience: the fact she was thinking about ending things shocks and makes me wonder whether there are ways we can help those who have to go through awful challenges. I know people who have suffered crashes and accidents who have used music as part of their rehabilitation. Many who suffer from memory issues and neurological diseases are played music and, in many cases, it can unlock memories and access parts of the brain other therapies cannot. There is infinite power when we think of music and I think, in cases where someone goes through an ordeal and surgery; music can be a huge aid and sense of support.

 PHOTO CREDIT: @hyingchou/Unsplash

Emilia Clarke would have had her family around but one wonders, in her lowest moments, how she managed to find a way through. It is never possible to predict what life will throw at you. Whether it is a sudden attack (of violence) or a degenerative illness, it is always awful and people feel isolated and vulnerable. I have experience of people I know suffering illness and there are always periods where there is depression and confusion. I do wonder, in the times when things are bleak and there seems to be no hope, what the answer is. Music is not a cure-all and instant remedy: it can be difficult discovering a way to ensure music fits in a variety of situations.

Perhaps it would not be as simple as playing music to patients but I do feel like music’s spectrum and universe can, in so many cases, help enormously. I often find, when I am particularly exhausted and depressed, music is a huge help and can unlock something deep inside me. We know how music affects people and the fact is, in many cases, it can be hugely motivating. This article explores how music can change lives and aid in cases of recovery:

“All forms of music may have therapeutic effects, although music from one's own culture may be most effective. In Chinese medical theory, the five internal organ and meridian systems are believed to have corresponding musical tones, which are used to encourage healing.

Types of music differ in the types of neurological stimulation they evoke. For example, classical music has been found to cause comfort and relaxation while rock music may lead to discomfort. Music may achieve its therapeutic effects in part by elevating the pain threshold.

Music may be used with guided imagery to produce altered states of consciousness that help uncover hidden emotional responses and stimulate creative insights. Music may also be used in the classroom to aid children in the development of reading and language skills. Receptive methods involve listening to and responding to live or recorded music. Discussion of their responses is believed to help people express themselves in socially accepted ways and to examine personal issues”.

There are other articles that break down the ways in which music can help us so, more now than ever, I think it is time to bring it more to the front. Not that people like Emilia Clarke are poster-girls/boys when it comes to this sort of thing but she has spoken boldly about her emotional state following her aneurysms. It is debatable that, were it not for her career and family, she might have gone somewhere very black indeed. It is hard to create this magical formula but music brings immense joy and can, at the very least, provide short/medium-term relief and hope. It is great there are charities such as SameYou springing out of a very bad and tough time. I know it will help many people and bring awareness. Music is already helping so many people who have suffered physical injury, psychological issues and other illness and we know how it can aid memory. Also, learning an instrument and having something constructive to focus on can be an enormous help. The process of picking up an instrument and mastering it, step-by-step, is a wonderful form of therapy.

 PHOTO CREDIT: @mitchellsh/Unsplash

It taps into so many emotions and I am pretty keen to start something that makes music this very proactive and utilitarian tool. The NHS does marvellous work and, around the world, there are dedicated people who are here to help with recovery and support. Music is already being used in so many different situations but I think we can go further. Even for me, in cases when things are very hard-going, music’s magic can help soothe and unlock something positive. It is heartaching to think of all the people out there who have to go through terrible times – whether a life-long illness or something shorter – and find a way through. Every situation is different but I feel there is a lot to be said for music and its role. I definitely think it is worth the Government investing more in music regarding its place in a hospital/therapeutic setting and aiding those who need it. Music is a wonderful thing and it enriches people around the globe. I do not think we have come anywhere close to realising its true potential and I think, for that reason alone, it is worth exploring (music) in greater detail. From personal experience, I cannot thank music enough and, every day, it changes my life for the better. I was stirred and affected by Emilia Clarke’s experience and what she had to go through. She has come through the other end and, with her charity, wants to help many others. It is commendable to see and, when I read that, I was instantly motivated to...

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🙏🏻 A million million thank you’s to everyone who has read shared and sent love for my story, it’s a beautiful thing to behold and I can’t quite believe how many of you this has affected! #❤️@sameyouorg is ready to hear your stories, how you recovered and what could have made that recovery experience better. By hearing your stories we can build a case for an improved aftercare experience for all in the future...who wouldn’t want that! #sameyoucharity #love #sometimestheworldshowsyouwhatkindesslookslike #thankyou #❤️ #💪🏻 #🙌

A post shared by @ emilia_clarke on Mar 22, 2019 at 9:13am PDT

FOLLOW her lead.

FEATURE: “It’s Lonely Out in Space”: The Elton John Biopic, Rocketman, and a More Truthful Representation

FEATURE:

 

“It’s Lonely Out in Space”

IN THIS PHOTO: Taron Egerton as Elton John in Rocketman/PHOTO CREDIT: Press/Dexter Fletcher 

The Elton John Biopic, Rocketman, and a More Truthful Representation

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ONE of the criticisms that faced the Queen/Freddie Mercury...

 IN THIS PHOTO: Elton John (circa 1970)/PHOTO CREDIT: Michael Ochs Archives/Getty Images

biopic, Bohemian Rhapsody, was the moments omitted and a distortion of the truth. We got a good view of Queen’s rise but, with some inaccuracies and key aspects of Mercury’s life left out, some felt that the film played fast and loose with the truth. There is no denying that Mercury’s gay relationships were left out. We saw his relationship with Mary and their story but not a lot of revelation regarding the other side. By that, we did not see Mercury as this club-dwelling man; someone who was bisexual and those moments of excess. Maybe this was taken out to keep the film to a good length and there wasn’t too much space for everything. One feels, in order not to offend people, this was removed. It seems a shame that this Oscar-winning film was not bold enough to explore Mercury’s personality in real depth and venture into areas that are a little more eye-opening. There is more than one reason to feature Sir Elton John today. Tomorrow is his birthday so I know there will be radio stations playing his stuff and celebrating the man. I am a fan of his and, whilst I do not know all of his music, I do hope that the new biopic, Rocketman, included a good range of his material. The film is directed by Dexter Fletcher and written by Lee Hall. We get to see Elton John (Taron Egerton) go from this prodigy right through to moments of excess and him accepting his sexual orientation. There is this mix of the uplifting and the more challenging moments.

There have been articles published asking whether, like Bohemian Rhapsody, there will be little regarding the lead’s darker side; the weaker moments and times when there was real struggle. In the case of Freddie Mercury, he had this wilder side and as we know, dated men. This is not truly covered on the film and we only get to see a certain angle. Whilst some are reporting scenes of homosexuality and drug abuse will be taken out, it seems like Rocketman will play closer to the truth. Taron Egerton, when asked about the film, explained that there will be rawer moments:

"The movie begins with Elton marching into rehab in a real bad way, sweaty, grinding his teeth and that's our jumping-off point for the film. We learn his life through him recanting his experiences from this therapy room," he told Digital Spy and other press.

Egerton praised Elton's stance that Rocketman could show him at his "most vulnerable".

"It's right at the heart of what makes Rocketman quite special because Elton gave me the licence to go and make him look quite ugly at times, that was always very important to me," he continued.

"This movie is primarily a celebration of Elton's life and work and his musical partnership with Bernie Taupin, but it's also a story about someone who is not well becoming well".

In some ways, the film is going to be an atypical biopic. There will be moments of fantasy and playfulness but these are going to sit alongside more upsetting and stark scenes.

I do like the fact that the filmmakers are not standing back and projecting this rather one-sided and happy portrait of a complex artist. It seems like, rarely, we might see someone exposed and open. According to AV Club, it seems like we will have this rawer, R-rated film that does not shy away from giving a true portrait of the iconic Elton John:

“This is per The Hollywood Reporter, which quotes sources stating that Fletcher’s movie is headed for a pretty definitive R-rating from the MPAA, at least in part due to scenes of drug use, foul language, and explicit sex between Egerton’s John and his former manager/lover John Reid. (Also: “brief rear nudity.”) There’s also a suggestion that Paramount has asked Fletcher to tone some of this stuff down in the interest of scoring some of that sweet Rhapsody cash, but the director recently issued a tweet denying such allegations, stating that Rocketman “has and always will be the no holds barred, musical fantasy that Paramount and producers passionately support and believe in.”

In other words, Rocketman—which various attached parties, including Egerton, have described as less of a straight biopic, and more of a “musical fantasy” based on John’s early career—sounds like the sort of weird, delightfully messy thing that it’s unlikely anyone will be able to accuse of shying away from the artist’s more decadent side. Which, frankly: Bring it on, especially since the first trailer for this movie already looked fantastic. Just be careful with the editing, please, unless you want to get another one of those Oscars everybody ends up making fun of for years”.

PHOTO CREDIT: EMG/Shutterstock

These are all rumours at the moment and, whilst Dexter Fletcher says that they are still making cuts and nothing is finalised, it seems like we will see Elton John in all his guises. The advantage of Rocketman is the fact that its subject is alive and consulted with the team. John was pretty straight when he said he wanted them to tell it like it is. There is talk that a gay sex scene has been cut but, with so many reports flying around, this is all rumours. I like the fact that an artist as big as Elton John has allowed this film and is happy for people to see his story. It is not going to be a rather dry and traditional story. There are these fantastical elements and we will see that juxtaposition of the camp/delightful and bleak. Elton John is this complex man and someone who, through the decades, has created some of the best music ever. People who have watched the trailers are excited and it does seem like we will see a balanced story. There is always that risk when it comes to biopics. From Jim Morrison and Johnny Cash to Freddie Mercury and anyone else...how easy is it to be honest and uncompromising and satisfy everyone? One of the ‘worries’ when it came to consider Freddie Mercury as this sometimes-veracious and Wildman...well, would people get upset and would the film be inaccessible to a lot of the audience?

If you give something an 18-certificate or make it very explicit in places, it cuts the box office appeal and means that fewer people go and see it. That might sound cynical but there are going to be those conversations regarding making the biopic family-friendly. People do not want to think about these stars as anything other than pure and perfect and, if we peak behind the curtain, will that illusion shatter?! In the age of social media – where everyone reveals everything about themselves – is film heading in the other direction and becoming too cagey and cloistered? It is hard to create an honest representation of an artist because you do not want to offend and it is hard to include everything. Dexter Fletcher has spoken with Elton John and will ensure that his film shows the superstar in a variety of lights. I am not sure how deep they are going regarding sex scenes – maybe a bad choice of words! – but there is a fine line between reality/honesty and being too explicit. The same goes for drug abuse – just how much do we want to see? In every case – whether it relates to sex, violence or drugs – you need to decide where the line is but not hide it from view. Why are music biopic trending and becoming a bigger thing now?

 IN THIS PHOTO: David Bowie (there is a planned biopic, Stardust, in-development)/PHOTO CREDIT: Nicolas Roeg/Getty Images

With planned biopics of David Bowie and Céline Dion on their way, it seems there is an appetite. The Guardian try and unpack the reason behind this rise:

“But following the enormous success of Queen biopic Bohemian Rhapsody and the impending arrival of the Elton John film Rocketman, it seems like artists have realised that backing biopics and celebratory movies is a way of reaffirming their cultural relevance and opening new revenue streams as traditional incomes from record sales are on the wane. Although the forthcoming Bowie biopic Stardust – starring Johnny Flynn – has been made without the involvement of the late star’s estate, there’s a Mötley Crüe biopic out on Netflix in March, featuring the no-longer-touring band’s old music and four new songs written for the film. Also on the way is a Céline Dion movie, The Power of Love, while the Who’s Roger Daltrey recently suggested that his long-mooted biopic of drummer Keith Moon is finally in the offing.

“The movies sell the music, and the music is a marketing tool for the movie,” says Observer film critic Wendy Ide. Thus, Bohemian Rhapsody – the biggest music biopic yet – was pitched beyond Queen’s fanbase as “a display cabinet to introduce the songs to a new audience”. In the streaming era – as artists have less control over the dissemination of their own music – Ide sees biopics, musicals and similar vehicles as a way of taking back the reins. So Queen’s Brian May and John Taylor, creative consultants on the film, are “astute businessmen with tight control over their product, which extends beyond the music and into [late singer] Freddie Mercury’s personal history”. Hence the “slightly sanitised, safe and schematic” approach to any rock’n’roll excess”.

Seeing much speculation about ROCKETMAN!! That’s good! It’s still unfinished so it’s nothing but rumors. It has and always will be the no holds barred, musical fantasy that Paramount and producers passionately support and believe in. See for yourself May 24. Dx x

— Dexter Fletcher (@Dexfletch) March 22, 2019

 

I am surprised it has taken so long for an Elton John biopic to come about and one would think a West End musical about his work would be happening. Maybe there has been reservation from the man himself or, maybe, the right project never came along. It seems that there is a desire from filmmakers to get these incredible artists to new generations. In this article, there is theory as to what makes a great biopic – and why a bit of imagination and fantasy elevates the mind:

“...Of course, musicians’ lives, like everyday lives, aren’t really like that. And, paradoxically, arguably the best music biopic is one that steadfastly refuses to romanticise either the struggle or the outcome. Anton Corbijn’s portrait of Ian Curtis, Control (right), shows him at his day job, or in his suburban home, or being an uncommitted father and husband. Even as Joy Division become popular, there’s no triumph. His death, when it comes, is not elevated into a substitute for the crucifixion: it’s all the more tragic for being so real.

Music is at its most exciting when it fires the imagination. And that’s what writing at length about music, at its best, can do. Without drab talking heads on screen, or some badly recreated gig on a studio soundstage, your mind and the words on the page can take you to the most hyperreal version of reality”.

There are other articles that ask whether it is ever able to be transparent and truthful when creating biopics. I think, in the case of Rocketman, we will get a fair and stunning look at this masterful musician. It will be interesting to see how Elton John reacts to the film and what he reckons. It will be great and I think we will see one of the most balanced and truthful biopics in a long time. Who knows, this time next year it might be challenging for Oscars! Elton John turns seventy-two tomorrow and it is a great time to listen to his music. Get involved and, if you can, start from the beginning. It is interesting seeing this rise ans change through the decades. Many say that Elton John has produced some of his best material in last couple of decades and everyone will have their own views on that.

John is taking part in his final-ever tour and, if you can, go and see the man on the road. I am not a super-fan but I recall listening to classics like I’m Still Standing and Crocodile Rock as a child. These infectious and catchy songs captured me at a young age but I also love the more emotive and softer songs. Rocket Man (I Think It’s Going to Be a Long, Long Time), in fact, is a favourite of mine and there are so many songs in the Elton John catalogue that can rank alongside the very best from all of time. I do not know whether there are more John albums coming along or whether we have heard everything from him – let’s hope there are many more records! If you have not discovered the bounty of Elton John’s music then have a listen on Spotify and go out and buy his records! It is a fantastic experience and Elton John changes between records. You can never predict a particular sounds because, at every stage, he picks up fresh influence - one of the most versatile and engaging artists there has ever been!

I have put a playlist down below that merely scratches the surface – there is so many more treats to be discovered. There is nobody quite out there like Elton John but he has inspired so many different artists – including Kate Bush. I think there are other musicians who deserve the big-screen connection but, as we have seen in the past, there is always a risk. Whether you glamorous the subject or whitewash a lot of the worse sides, it is never easy to please everyone. The music is the most important thing and, just looking at the trailer and you feel energised and excited. It will be interesting to see what comes when Rocketman hits our screens on 24th May (in the U.K.;  31st May in the U.S.). It shows there is this big love for Elton John and a real appetite for his work. Taron Egerton has some big shoes to fill and it must have been weird talking to the man he is playing; that balance of nerves, expectation and thrill. There is this line in Rocket Man (I Think It’s Going to Be a Long, Long Time) that goes “I’m not the man they think I am at home” which got me thinking about the Elton John away from music and the one who owns the stage and captivates audiences around the world. It will be unique seeing this glimpse behind closed doors and a more rounded view of the iconic – without tabloidisation and needless over-dramatisation. If you are a fan of his work or not, Rocketman is a film you will want to see and, unlike many music biopics, it seems like we will get pretty close to...

THE real truth of a legendary figure.

TRACK REVIEW: Nadia Sheikh - Toxic

TRACK REVIEW:

 

Nadia Sheikh

PHOTO CREDIT: Javier Nomdedeu Lopez 

Toxic

9.3/10

The track, Toxic, is available via:

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

ORIGIN:

London, U.K.

GENRES:

Indie-Rock/Pop

RELEASE DATE:

25th January, 2019

__________

I have been on a bit of a run...

 PHOTO CREDIT: Jon Mo

regarding female artists but, as there is so much quality out there, I do not feel like there is any need to break the run. I will cover Nadia Sheikh in a minute but, before then, I wanted to mention passion in music and sounds that definitely make you move; cultural and genre mixing that adds to a big impression; Indie-Rock sounds and whether there is a resurgence happening at the moment; the need to be inspired right now and uplifted; where Sheikh can head and how she will step as we head through 2019 – a little bit, again, about headliners and female artists (I shall leave the topic alone after this!). The reason I break down my weekend reviews to the near-mainstream (Saturday) and new (Sunday) is because, more often than not, I found I was getting sent similar-sounding artists without much of a story and background. It makes it hard to write a four-thousand-word review when you are faced with similar stuff and, as I know I can get more ammunition and inspiration from someone like Lizzo, that is why I break things up. It has been the case that, for the past few months, I have had to reject quite a bit of stuff because it is similar or not really distinct. When it comes to Nadia Sheikh, she definitely has an edge and sound that interests me. It might take a while before she is in the same leagues as the best out there but she is making her way out there. She has festival experience – which I will talk about later – and is producing something raw-yet-alluring. I am going to cover Elton John later because, not only is tomorrow his birthday, but there is a biopic coming out very soon – Rocketman is already gaining a lot of attention and speculation. We know how well Bohemian Rhapsody did at the box office and Oscars; it is a complete hit and, despite some historical and personal inaccuracies, the film fared pretty well.

One of the reasons why these films are happening and people want to see them is because, at heart, there is this catalogue of music that gets you up and energised. Think about a biopic of an artist that is a little upbeat and spirited and it does not really hold the same promise. These charismatic singers who had/have these fascinating lives; the songs that have come and how they connect with the people. I do feel like there is a bit of an absence when it comes to stomp and fun. Maybe it is because music is so large and wide-ranging that it is hard to get a proper sense of focus. Look at everything flowing out right now and can one say there is as much energy and fun as there was a couple of decades back? I do not think so and I wonder whether, as I have said before, introspection and deep emotion has taken away that sense of fun; whether artists are willing to be that submissive and feel they need to produce something deeper and more emotional. It is sad to see so little passion coming in terms of sound but I get why many do it. I have been hankering after music that gets the body moving and motivated but is has been pretty hard to find. I guess, when Lizzo releases her album, we will see a stormer that we can all get behind. It need not be a complete fire and explosion of a song: something that makes you a bit happier and can get the feet moving. That is all we ask, really! Nadia Sheikh has the potential to bring a bit of flair and kick back into music and, although it seems like I am writing people off, there are those who are pretty intoxicating and intense. In the case of Sheikh, she is someone who can mix the sort of lyrics that make you think and hold emotional weight but there is that musical attack – helped by her tight band – that adds something special.

 PHOTO CREDIT: Alan Wells

Sheikh is half-Spanish so it makes me feel, in a way, that she brings some of that heritage into her music. I am not suggesting there are cliché Spanish sounds in the mix but one gets the feeling that something from the great country is sprinkled in the notes. Definitely, when you hear the passion in her voice and the way she can get people moving, that seems to have a very Spanish flavour. I have been to Spain seven times and, every time, revelled in the local music and how there is this intoxicating and instant charm. Maybe British artists are too rigid when it comes to sounds and, at a time when we need to embrace Europe and its people, I wonder whether we should look to the continent for inspiration regarding music. Certainly, there is enough gold and brilliance out there and I feel like a lot of it is being neglected. Sheikh has that family connection but she knows that, with a subtle bit of culture-fusion, she can get this rather electric and tangy punch that gives her music an edge. It is zesty and uplifting and it is different to everything I have heard. Not to make this political, but I feel like musicians here are probably taking heavily from the U.K. and U.S. I do not feel like we are that inspired by Europe but, when you consider, there are so many rich and diverse sounds out there. Not only does one get a sense of countries fusing within the music of Nadia Sheikh; she also mixes genres to create this big and impassioned impression. I do wonder, also, whether there is a general lack of energy in music as a whole. Maybe there is a fear that Indie-Rock is a bit of a lost genre or it is not as strong as it used to be. There are some great bands out there but I am hearing a lot more of other genres hold influence.

Sheikh’s blend of delicate vocals and an ominous Indie-Rock is great but she goes even further and dips into other types of music. I love stuff like Folk and Pop but I do feel like there is, as I said, too much emotion and delicacy. That is not to say it lacks appeal but I yearn for those artists who are broader and can get you involved. I feel like we all need a bit of a boost and kick right now so, thinking about that, I am seeking out those artists who can get us all jumping. I do feel like Rock and Indie are genres that have been overlooked or were popular years ago. I am hearing Post-Punk bands coming around but look at the mainstream and are there are as many Rock bands as there used to be? Certainly, in terms of numbers, there are fewer than there were in the 1990s and early part of this century but I do wonder whether there is too much of a stronghold by Pop. I am seeing some great Indie-Rock bands emerge but it is hard to integrate and shine in a mainstream that still is dominated by other genres – including Hip-Hop and Rap. In my experience, I feel that a lot of bands from the past have lacked originality and tastes shifted. We had the time when we idolised these bands but, more and more, the solo artists is taking over. Nadia Sheikh is a solo artist but she has a band. She has that combination of original and personal intent with some backing and strength behind her. It is actually quite rare to find a solo artist like her in music. When I think of solo musicians then I consider something gentler and less intense. I do feel like Sheikh has a definite role and chance to lead. The music she is throwing out is great and, alongside a few bands that have a similar sound, there is not a lot of company out there.

I do not feel like there is a complete recovery and rise but there are more Rock and Indie sounds coming out. Most of this is happening in the underground and I hope we see more of them come through. Look at the festival artists playing in the U.K. this year and very few of them are Rock-natured. I do wonder whether there is this reliance on certain genres or whether bands are heading in another direction. This might sound scary for Sheikh but I do feel like the wind is changing and artists like her have a chance to take advantage. One of the reasons why bands of the past struck a chord was because of the passion and the way they could unite us. They had these big choruses and anthems that got into the mind and made us all sing along. I do miss those days and, whilst Indie and Rock have changed a bit in nature, there are still those who know how to get us active and alive. In that sense, I do feel like there is hope that the scene will change and assimilate these artists into the pack. This is something I have also covered quite a bit but I do think there are very few artists out there who can get you happier and move the body. To me, music is at its strongest when we are lifted up and can feel better about ourselves. I do think there is a little too much gloom around right now and we are not producing enough music to lift the soul. Whether that comes from Pop, Indie-Rock or another genre, I wonder what has happened. I shall move on from this point right now but it is great that there are artists such as Nadia Sheikh who can step away from the predictable and obvious and create something with some physicality. Now, more than ever, we need music that can unite us and make us feel better.

Yesterday was a big day for London because we had the march against the Brexit vote; the right to stay in Europe and Article 50 to be repealed. There was a lot of protest and people on the streets and, whilst I did not go myself – it would have been so crammed and hectic out there – everything went off peacefully and there was a lot of passion to be found. I caught photos from the day and people were keen to express their support and solidarity. There is a mood percolating and enduring that is tense and afraid. Even though we have seen this strong army take to London to show their anger at the state of politics right now, we are all uncertain and not quite clear where things are headed. I do think that this country is as fragile as it has ever been. I feel there will be improvement and hope but it will take a while longer before we get that stability. Look ahead and where do we go from here? Is there going to be another general election and will we see another leader guide the country? In any case, it is clear that Brexit is going to be delayed and we are heading for another period of debate and clashes. All of this happens around us and people are getting involved. Nobody wants the country to be divided and tense and, at the moment, it is hard to break from this fog and stress. Right now, we need music to play a big role and, whether it is political or not, I feel we can all get some solace and comfort from musicians and what they have to offer. There are more politically-driven bands/artists emerging at the moment and those keen to have their say regarding the country. In my view, we need more music that provides a sense of escape and energy.

PHOTO CREDIT: Will Ireland Photography

Although Toxic does not sound like the cheeriest song out there, there is a general aura that gets you in a better space. That is an interesting observation in itself. How many songs, whether it is the lyrics or music, have a genuinely positive aspect? Every song I have reviewed for the past few weeks – with few exceptions – have had some sort of negative aspect. It seems to be a default position and, whilst not a slam against artists like Nadia Sheikh, I wonder whether artists are capable of finding light and writing music that does not have a negative edge. Luckily, when it comes to Sheikh, her punch and passion makes up for slightly unsettled moods that comes from a darker place. I listen to her music and do feel better after listening to it. There is a definite catharsis and, whist the lyrics are not exactly up there with a Beatles love song from the 1960s, one comes away with a warmer heart and more energy coursing through their veins. This is what we want from music and, at a time when we are sort of crumbling and separated, I feel music has a big role to play. We do all need that hope and connection and I think music can step up. If artists could more positive with their themes then that would be even better – maybe this side of music is something that is resigned to the past? I will conclude by looking at where Sheikh can head this year and develop but, before then, a look at headliners and arranging festivals. This year’s biggest festivals have already announced their biggest acts and it is another case of the boys taking the top slots. There are a few exceptions regarding female headlining but, largely, it is men at the summit. I do not understand why this keeps happening and why we need to fall back on the same old artists. The fact that The Killers are headlining Glastonbury when there are so many great female artists who could provide a more popular and fresh set...it is a bit baffling.

 PHOTO CREDIT: Jon Mo

Not only do I want more positive and energised music to come out but, when we see female artists like Sheikh plugging and producing great stuff, there needs to be this guarantee that, in years to come, there will be a possible headline slot. I do not think changes are coming in so far and we are pretty slow to progress. I am a bit annoyed that there is not enough room for women when it comes to headliners. I do worry that we are denying so much great talent. Look at the best albums of 2019 and they have been released by women. There are some great female Punk/Rock bands who have definite verve and I feel like they could headline a festival in years to come. Right now, there is this solo dominance but, in terms of genre, not a lot regarding Indie and Rock. Definitely, when it comes to songs that have a swagger and fire in their stomachs, there is a definite gap. I shall move on from this topic now but there are great artists like Nadia Sheikh who need to know that the industry will recognise them. The industry needs to be more receptive and open and we cannot just keep booking men for the headline slots. Maybe it is too complex to unpack and solve right now but we need to sit back and make some changes. Rather than get too hung up on the inequality around us, it is time to look at Nadia Sheikh’s latest track. I do not usually review songs that have been out a while because there is not much point. I look for the new tracks that everyone else is looking at. The fact Toxic came out in January would usually mean I look for something fresher but, as its video arrived this week, I have taken it on – possibly the last review I will accept when it comes to songs that have been out there for a fair bit. Regardless, it offered me the chance to look at an artists I have not featured before and a style of music that needs to be embraced more.

The sheer rouse and sense of fun that opens Toxic hooked me right in. I watched the video as I was listening to the track and, even from the off, you are put in a better frame of mind. Sheikh and her crew create a sound that has some old-school glisten and some modern touches. It is a nice brew that is quite simple but has so many different aspects and sides working away. It is like the introduction is a conversation and dialogue. When the heroine comes to the microphone, she talks about people talking but nobody really listening. There is not a lot of understanding and people taking the time to hear. Whether she is talking about her own words being ignored – or is looking at the world in general – I am not too sure. There is something bubbling and itching under her skin and, whilst the heroine is dealing with some personal struggles, the composition keeps things buoyant and positive. Listening to Sheikh and it seems like people are dismissing her concerns and words. They say everything is in her mind and she is getting carried away. Maybe there is this feeling that people are unwilling to listen regardless of what is happening and thinking about themselves too much. She does not reveal too much about the exact origin of this ignorance and conflict but one assumes that Toxic is about a general feeling of isolation. When we come to the chorus, there is this burst that combines modern Indie and the U.S. Pop-Punk style. It is a satisfying blend and will appeal to those who want a nostalgic rush but also those who desire their music modern and fresh. You get caught up in the rush of the song and are helpless to resist its physical push. I was wondering, throughout, whether there is a particular event that has triggered the birth of the song. You need to listen a couple of times but, slowly, the truth starts to come out a bit more.

POSTER PHOTO: Derek D’Souza

The band is definitely pretty tight and they have this sense of intuition. The connection and chemistry between them makes the song really strong and electric. You dive into the words and try and get a picture of what is happening. Sheikh does not want this bitter pill and she is trying to get away from a bad situation. I instantly thought about relationships or a love that has broken down but, the more I considered, the more I looked at other avenues. There might have been some passion-heartbreak but I think the heroine has been receiving some bad vibes from other areas. The system is overflowing with poison and it is filling her mind. Even though I have suggested artists like Sheikh can uplift and unite us, one cannot help overlook the fact that, at its heart, Toxic is a song that deals with some pretty tough times. The sound and the passion the entire band puts together can definitely make us all feel better and, in a way, I think the song is more of a release than anything. Rather than dwell on the words and make people feel stressed, Sheikh is venting and getting all of this toxicity out of her system. It seems that she has faced her fair share of negativity and pain but now, in this moment, it is all flowing out. Her voice has a nice balance between sharp-toothed and calm. She never truly explodes but there is definite potency in the vocal. Mixing a sense of teenage rebellion – in a good way, rather than immaturity – and the need to be taken more seriously, the catchiness of Toxic overtakes any feeling that we are listening to quite a heavy song. As I have said, the track seems like this release and moment to shed some old skin; get rid of those doubters and start from fresh. It is inspirational in that sense and I am not hearing too many artists like Nadia Sheikh. If you listen to cooler radio stations then you might but look at the mainstream and it is still Pop-heavy. There are a lot of songs that are written by committees and seem to fit into this formula. There is a lack of naturalness and personality that seems to dominate. With Sheikh and her band, one feels this song that means a lot and will resonate with people. I recommend it highly and hope it leads to more material. There will definitely be demand for more of the same from the talented songwriter.

I hope there is a lot more coming from Nadia Sheikh because she has a sound that is instantly appealing and engaging. There are not that many artists we can say that about. I love what she is producing and think she can go a long way. She has her band behind her and, whilst they definitely make the music pop and shine, it is Sheikh who leads and strikes the hardest. I forgot to ask whether she has an E.P. out and other plans but I am sure there will be news coming up. I feel like there are opportunities ahead of her so keep an eye out when it comes to her social media channels. She is a great live performer and has played at some big festivals in her time. That experience feeds back into the music and you get a sense of someone who is completely tight and focused. The music is exceptional and I’d like to think there is more arriving pretty soon. I would suggest, like I do with a lot of artists, to get some more promotional photos onto her pages. There are a few but not that many from the past year. A few portrait images – rather than landscape – would definitely add something. There are some good live shots of her but it would also be cool to see more of the artist away from the stage. Music is a very visual medium so I do like artists that have quite a stock of photos. That is the only real suggestion I would offer as, apart from that, there is nothing really to gripe about. Sheikh communicates with her fans and we have this artist who is very hungry and excited to see what comes next. Many will wonder whether there are festival dates and plans for new material – keep your eyes set on her channels. I am a new discoverer of Sheikh so not really sure whether what she is producing now is an evolution from her older sound. Listening to her past work, one can see she has grown more confident and ambitious. The music seems to have more nuance and passion and, in terms of her writing, I think that has sharpened too. One gets a nice blend of sounds and cultures; lyrics that are relatable and we can all identity with and a sound that gets the body moving. Toxic is a song that, on paper, sounds quite harsh and unforgiving. Whilst there is some truth in that, the abiding impression is of this musical moment that makes you feel better and stays in the mind for all the right reasons. Ensure you follow Nadia Sheikh and discover what comes next. She is an engaging and appealing artist and someone who can go quite a way. I will leave things there but, if you need a bit more boost and clout in your day then make sure you head the way...

POSTER PHOTO: Derek D’Souza

OF Nadia Sheikh.

___________

Follow Nadia Sheikh

 PHOTO CREDIT: Derek D’Souza

Official:

https://www.nadiasheikh.com/

Twitter:

https://twitter.com/NadiaSheikh_

Facebook:

https://www.facebook.com/nadiasheikhmusic

Spotify:

https://open.spotify.com/artist/1REWoOzJNHGCPDYsSBBghV?si=dQRq3XCsSx2v_ah3AcPcog

Instagram:

https://www.instagram.com/nadiasheikhmusic/

YouTube:

https://www.youtube.com/channel/UCa8bckV5qeBUcBXVOZoFJFw

FEATURE: It Started with a Famous White Dress... The Visual Brilliance of Kate Bush

FEATURE:

 

It Started with a Famous White Dress...

IN THIS PHOTO: Kate Bush captured by her brother John Carder Bush (taken from his book, Kate: Inside the Rainbow) 

The Visual Brilliance of Kate Bush

__________

MY first exposure to Kate Bush would have been...

 IN THIS PHOTO: Shots of the young Kate Bush from CATHY by John Carder Bush

when I was a child and I saw a video of her greatest hits, The Whole Story. It was that white dress Kate Bush wore in the Wuthering Heights video that opened my eyes and, with it, my world. I shall track things forward a bit because I write quite a bit regarding Kate Bush. I was going to pen a piece regarding an absence of material. Bush is a hard-working and always-inspiring artist and we are no stranger to gaps. The biggest one was the twelve-year gulf between The Red Shoes in 1993 and Aerial coming along. It has been almost eight years since her last album, 50 Words for Snow (2011). My article was going to be about the gap and whether anything is coming along in 2019. Bush always releases albums in the autumn and winter so one cannot expect anything too much before then. Maybe she will leave things until 2020 but there was an intimation, back in a 2011 interview she gave with Front Row’s John Wilson, that she was working on new stuff. There were new ideas, at least and that has not manifested itself yet. She has not been exactly quiet the past few years and, whilst I have discussed this recently, I want to briefly nod back to it. Her 2014 live show, Before the Dawn, was a sensation and her first live show since 1979’s Tour of Life. Bush released a book of lyrics last year and has also re-released her back catalogue; remastered and all available on lovely, shiny vinyl.

The fact we have received news and stuff from her as recently as 2018 should keep as all happy and satisfied. There is that need for new material, mind – the world is always better when we have Kate Bush music in it! Going back to Before the Dawn and it reminds me of a side to Kate Bush that is often overlooked: her visual aspect and how she inhabits new worlds on the stage and through videos. I mentioned the Before the Dawn show and how it marked a return to the stage after several decades. I was not lucky enough to get a seat there and be able to see one of the twenty-two shows at the Hammersmith Apollo. That show was definitely not lacking in theatre and there was this entire world. Bush performed the suites from Aerial and Hounds of Love (so there was a story and arc) and there were some big hits in the mix. The set contained masks and dancers; there were great backdrops and visual elements. Videos played to introduce various sections and it was this multi-media bonanza. It is not shock that 2014-Bush still had some magic in her fingertips. Look back at her 1979 live tour debut and she entered with a unique bang. This Guardian article from 2010 looked back at the Tour of Life and how Bush changed the game:

 “Few other artists had taken the pop concert into quite such daring territory; its only serious precedent was David Bowie's 1974 Diamond Dogs tour. There were 13 people on stage, 17 costume changes and 24 songs – primarily from her first two albums, The Kick Inside and Lionheart – scattered over three distinctly theatrical acts. Her brother John declaimed poetry, Simon Drake performed illusions and magic tricks, and at the centre was a barefoot Bush, still only 20 years old...

For Them Heavy People she was a trench-coated, trilby-hatted gangster. On the heartbreaking Oh England, My Lionheart, she became a dying second world war fighter pilot, a flying jacket for a shroud and a Biggles helmet for a burial crown. Every song offered something new: she moved from Lolita, winking outrageously from behind the piano, to a top-hatted magician's apprentice ; from a soul siren singing of her "pussy queen" to a leather-clad refugee from West Side Story. The erotically charged denouement of James and the Cold Gun depicted her as a murderous gunslinger, spraying gunfire – actually ribbons of red satin – over the stage. There was no room for improvisation. The band was drilled to within an inch of its life and Bush never spoke to the audience, refusing to come out of character. "She was faultless," says set designer David Jackson. "I don't remember her ever fluffing a line or hitting a bum note on the piano."

PHOTO CREDIT: John Carder Bush

As the tour rolled out around the UK the reviews were euphoric: Melody Maker called the Birmingham show "the most magnificent spectacle ever encountered in the world of rock", and most critics broadly concurred. Only NME remained sceptical, dismissing Bush as "condescending" and, with the kind of proud and rather wonderful perversity that once defined the British rock press, praising only the magician”.

If the visuals and the cinema Bush brought to the stage, both in 1979 and 2014, were mindblowing and unseen, one can forgive her for leaving a gap between her first and most-current tour – and why we might never see another tour/live set from her. So many modern gigs/tours have basic sets and lighting and, although it is expensive to put together, where is the sense of the magical?!

Even the biggest artists of this time – with deeper pockets and larger budgets – tend not to be too ambitious with their tours. Kate Bush, in many ways, was a benchmark in 1979 and, over four years since the last time she stepped on stage, is still the high-watermark! It is not only her shows that dazzle and stun. One need only look at her photos to realise that this visual imagination was not restricted to the stage. If you have not read the book Kate: Inside the Rainbow then you must. It documents photos taken by Kate Bush’s older brother, John, through the years. There are no simple poses and concepts regarding the snaps. Even when shot at home, there is a twinkle in the eye or something about her look that stands aside. It is worth exploring the photoshoots between 1978 and now and seeing all the wonderful images that feature Bush.

PHOTO CREDIT: John Carder Bush

Her album covers, perhaps, strike the eye the hardest. If The Kick Inside’s (her 1978 debut) had a cover image that would be bested then the promotional images of the time were more gripping and bold. Whether dressed in a leotard or posing on these elaborate sets, Kate Bush the visionary definitely outshone her peers. I love her album covers and whether you prefer the John Carder Bush-shot Hounds of Love (1985) or the intriguing The Dreaming – Bush with a key in her mouth, passing it to a man whose face we do not see (it is her then-boyfriend, Del Palmer, and relates to a song, Houdini, where a kiss is passed to the escapologist through a kiss) – there is much to choose from!

 PHOTO CREDIT: John Carder Bush

Kate Bush, as a dancer, was always attracted to the visual element of music and providing this very physical and theatrical look. It is her videos that, to me, represent the pinnacle of the Kate Bush visual experience. She has revealed in plenty of interviews how much she loves videos and her attachment to film. I mentioned the Wuthering Heights video: it is almost as iconic as the song itself because of the simplicity and power. She wore a white dress for the U.K. video release and a red one in the U.S. version. This amazing dancer entranced and enraptured in the song beguiled and, this many years after its release, it still amazes.

IN THIS PHOTO: Kate Bush and crew watch the rushes of The Line, The Cross and the Curve (in 1993)/PHOTO CREDIT: Guido Harari

My favourite video from her debut album is Them Heavy People. Bush, in a trilby and purple, created this quirky and memorable film where she gets to dance and fight off these two men; there are broken chairs and bottles and something that definitely catches the eye – it raises a smile and stays in the mind! On Hammer Horror and Wow (singles from her second album, Lionheart), the wide-eyed and mesmeric Bush created these amazing videos that went far beyond the standard of the time (1978). By 1980, the standard had increased and Babooshka - where Bush played a couple of roles and could be seen twirling a double-bass (in the verses) and this brazen and enflamed figure (the chorus) – was a pivotal moment.

No other musician (aside from David Bowie, perhaps) was creating these colourful, vivid and bold videos that matched music that was as original and special. Look at the other two singles from Never for Ever, Breathing and Army Dreamers, and there are more iconic visuals. Breathing finds Bush cocooned in this bubble: foetus-like and protected from the world, it is almost a little film in itself. Army Dreamers, Bush’s favourite of her videos, sees army soldiers (played by Bush and members of her band) going into battle. The images follow the lyrics and we see a young man plunged into war; Bush and her comrades avoiding fire and the striking Bush, again, wide-eyed and amazing. Look at the charm and quirk of Kate Bush dancing through, what looks like a barn, in the Suspended in Gaffa video (from 1982’s The Dreaming).

PHOTO CREDIT: John Carder Bush

Even if the album was more challenging and out-there than her previous efforts, the videos did not alienate. Sat in Your Lap, with its vivid pitch and pace, is matched in a video where Bush is on the floor, at first, almost jester-like in her movements. As the video progresses, she is joined by a cast of characters and the video is almost like an acid trip! One almost remembers the video about the song because of the amazing scenes! By 1985’s Hounds of Love, with the increase in ambition and the release of her most popular album, the videos become bigger and more filmic.

I love the packed and busy video for The Big Sky and Kate Bush as this sky-gazing figure. The song itself is the wonder of just staring at the sky and its wonder but the video throws in pilots, a jet and wild festivity. It is a joyous and bighearted video that is charming and filled with life. In Hounds of Love’s video, Bush runs through the woods with her sweetheart, chased by physical and spiritual forces (the ‘hounds of love’). One can hear Bush’s love of film and how she wanted to explore more. The video could well be adapted into something longer; maybe a short story or something a bit more expansive. It is hard to match a song as vivid and immediate as Hounds of Love with a video that does it justice but one cannot thank Bush alone – the directors she worked with in each case help bring these visions to life. I love Hounds of Love but one cannot talk about the album and ignore Cloudbusting and Running Up That Hill (A Deal with God). The latter is a simpler dance concept but it is amazingly sensual, brilliant choreographed and executed. Bush and her partner, Michael Hervieu, created something more sophisticated and classical than a lot of the dance videos of the time (the mid-1980s). Videos, mostly, had flashy images and effects and there was a real lack of sophistication and imagination.

Director David Garfath brings the best out of both dancer and it is another amazing visual. Perhaps her most ambitious video was for Cloudbusting. Featuring Donald Sutherland as the inventor (as the cloudbusting machine, Wilhelm Reich) and Bush as his son, Peter, it is an amazing video. The video shows the two on the top of a hill trying to make the cloudbuster work. Reich leaves Peter on the machine and returns to his lab. In flashback, he remembers several times he and Peter enjoyed together as Reich worked on various scientific projects, until he is interrupted by government officials who arrest him and ransack the lab. Peter senses his father's danger and tries to reach him but is forced to watch helplessly as his father is driven away. Peter finally runs back to the cloudbuster and activates it successfully - to the delight of his father who sees it starting to rain. Again, like so many Kate Bush promotionals, there is this film-like thing happening that elevates the song and augments its potent and unique lyrics. The fact Kate Bush is such a strong writer and creator gives her videos that natural edge. She never phones it in and, by 1985, was creating some of the best videos of the decade. Even by 1989’s The Sensual World, the standard did not slip. On The Sensual World, Bush looks elegant and resplendent as she dances and waltzes through woodland.

 

It is a gorgeous and beautifully-lit video that has this elegance and maturity to it. Bush, unlike so many other artists, changed between albums and did not stick with the same visuals and concepts. Kate Bush never does anything by halves and, with her videos, she wanted to create these special worlds. A lot of artists, then and now, do something quite basic and expend very little imagination. Even when she was representing a more stirring and emotional song like This Woman’s Work, the visuals did not lack. Bush, at the piano, provides this solemn, heartbreaking and memorable performance that far-surpasses other videos at the time. There is so much mystery and story in the video; a sense of devastation but also of wonder and curiosity. There have been fewer videos since 1993’s The Red Shoes but that is because there have been fewer singles released – and Bush, on Aerial and 50 Words for Snow – and longer songs. Moments of Pleasure is similar in scope and look to The Sensual World. Bush looks equally stunning and classical and there is this enticing dance and magical look.

PHOTO CREDIT: John Carder Bush

Bush seemed to have these two worlds. In terms of dance, she could bring this physicality and beauty to performances and, when more ambitious and bold, provide these filmic scopes that brought new life from songs. Eat the Music, to match the Reggae and festival mood, sees Bush dancing in a tropical scene whilst And So Is Love is darker-lit and stormy; The Red Shoes has this trippy, devilish and demented. So much range from the one album! I do wonder why we overlook the aesthetic and visual side of Kate Bush - given that it is so strong and captivating. Every one of her videos holds weight and gets into the mind. You just know she sees videos as art; part of her craft and something that not only sells songs but adds to them. It is hard to pick a favourite because there are so many classics in the pack - I guess every one of us picks different ones for separate reasons.

My favourite video from The Red Shoes is Rubberband Girl. Even if the record received some mixed reviews – many felt a decline was happening – the videos definitely did not suffer. Rubberband Girl sees Bush leaping on a trampoline and entwined with a dancer; keeping hold of him and not letting go. It is a great dance and, through the video, we see Bush walking the floor and, when the mood calls, letting her dancing side out. Apart from King of the Mountain on 2005’s Aerial, there have not been that many videos from Bush. She has just released some covers and rarities so we get videos for Rocket Man, The Man I Love and Under the Ivy. I recommend people get involved with that release, The Other Sides, and also check out her official website. There is, even in 2019, so much more to rediscover and uncover from this icon of the music world!

IN THIS PHOTO: Kate Bush in the make-up chair whilst filming The Line, The Cross and the Curve/PHOTO CREDIT: Guido Harari

They are all great songs but, once more, we see new sides to Bush and her unending passion for film. One hopes, if there is another album coming, there are more chances to see Bush on the screen. Even though she is now sixty, she still has that verve, dance ability and passion. I look back from 1978 and the incredible videos that happened right at the start. From the innocent-yet-beguiling woman on the Man with the Child in His Eyes video and the live versions of Moving and Strange Phenomena, Bush was this spectacular performer. Even when she brought the songs to T.V. and the stage, she added this dose of pixie-dust and spirit; a chemical reaction that was hers and hers alone! They should bottle it because I see a lack of the same zeal and colour in today’s scene - perhaps indicating that Kate Bush is unicorn-like in her rarity and wonder.

The live spectaculars – just the two of them – defied expectations and blew away the critics whereas her photos show all the complex sides of a phenomenal woman. It is hard to say just how influential Bush has been regarding the visual aspect. Look at artists like Tori Amos and Björk and you can see a bit of Kate Bush in all of them. Nobody quite meets the standard but her legacy continues today. Bat for Lashes and St. Vincent cite Bush as a heroine and I feel a lot of other artists, in some form or the other, have been compelled by Kate Bush. We talk about Bush as this amazing voice and songwriter but few address her videos, photos and visual side. It is an important part of her aesthetic and a reason why she is she is so lauded. I look forward to seeing what the future holds and what she gives to the world. There is no official word regarding new material but I have a feeling this year will the year! There are many reasons to mark a Kate Bush album but the videos and artwork is definitely part of that. She creates these eye-opening and wondrous things that blow the mind and exceed anything out there. In an industry where record sales have declined and things are less physical; music videos lack the spark and quirkiness only Kate Bush can provide, I am glad we can all see and watch her work and remind ourselves that there is no one...

PHOTO CREDIT: John Carder Bush

QUITE like her.

FEATURE: CaSe In PoInT: Is the Standard of English Dropping in Music?

FEATURE:

 

CaSe In PoInT

PHOTO CREDIT: @neonbrand/Unsplash 

Is the Standard of English Dropping in Music?

__________

MAYBE the language in songs is not quite as bad...

 PHOTO CREDIT: @patrickbrinksma/Unsplash

as I imagined but I have noticed a couple of things coming into music more and more. I have been listening to a lot of older music and some of the richest lyricists ever. From the classic songwriters to a sharper brand of Pop; I do wonder whether language has taken a back-seat to beats and a set formula. There are some great writers and thinkers in music but, more and more, the mainstream is being filled with music that is neither particularly challenging nor inventive. So many Pop artists are describing love in the same way and using very basic language. There is a simplicity and derivative nature that is not shifting. I know I am not perfect but I have to dig hard to discover songs where there is something poetic or sharp; a lovely line that catches you by surprise. That is not my biggest fear because, more and more, I am seeing song and album titles that mixes cases and miss punctuation. Maybe it is the cool new thing but artists such as Billie Eilish – who puts most of her songs in lower-case letters – are culpable. I know it is deliberate but other artists either put certain words in lower-case and some in upper. I also see a lot of songs with all the lettering in upper-case letters. This irks me but I wonder whether artists are trying to stand out or whether they feel bold text means the song is stronger.

I do worry whether this rather causal use of the English language results from greater reliance on text-speak and phones – whether everything is short-hand and we do not take the time to check. I am guilty when it comes to text messages. I often forget to put some upper-case lettering in or sloppily hammer off a text. Many people I see are firing text messages whilst walking and I do wonder how carefully they check regarding quality, clarity and accuracy. I have written before about the quality of the written word and how I am seeing more artists who are unable to construct simple sentences – I am aware I have made some errors regarding scansion and grammar (split infinitives) but I try my hardest. I know a lot of artists mix cases and stuff like that because it is different but I wonder why they do it. I hate looking at a song that has all upper or lower-case lettering or a mixture of both. I see so many songs pose a question without a question mark and it is getting hard to find that many artists who provide interesting and original titles. Look at the lyrics we see in many albums and there is a lack of scope and ambition. So many artists fail to dip into literature and the artists and I am finding few who write anything other than personal themes – what is wrong with stepping outside a comfort zone and opening your mind?

It is quite cool to play with language when necessary but I look at so many playlists and new songs and it does bother me. So many artists write ‘u’ instead of ‘you’ – I know Prince used to it; people are not Prince! – and so many songs fail to catch the mind because they are pretty average and formulaic. Our schools are great but I am concerned that, the more we rely on technology and do not write as much as we used to, this is going to bleed into music. This might sound like a personal beef and someone who is being picky but one can correlate between artists’ standard of English and the quality of music. I look back at songs/albums from years ago and can see a decline since then. In terms of titling, there is less need to mix cases and there is greater invention. Look back decades ago and, once more, the standard is increased. Maybe it is just a sign of things moving on and language evolving – but I wonder if this is a good thing. We communicate in a more brief and speedy way. We writer fewer letters and an history of the English language shows radical changes and evolution. I think one of the reasons Pop music has become slower and less optimistic is because of the way we communicate and how we use language. We are talking less and I feel like, the more technology takes over, the more this impinges on creativity and a certain outlook.

 PHOTO CREDIT: @thirdwheelphoto/Unsplash

I listen to a lot of songs and, whilst some are upbeat and forward-looking, so many are pretty tense and anxious. In terms of words we hear, there seems to be less spark and colour. That is a debate that we can have but I have noticed a certain decline in language that is not necessarily related to modernity and natural changes. Technology has advanced music hugely and led to so many breakthroughs. I am pleased we have been able to open the industry to countless artists but I feel there is a downside regarding using a crutch and being over-reliant. From the popular, if quite annoying, use of upper and lower-case letters in songs to poor punctuation and grammar, it concerns me how this will all affect music in years to come. I do think the most memorable and challenging songs are those where there is a richness and variety regarding language. As much as anything, I would like to see fewer tracks where there is an incorrect mix of lower and upper-case letters; a bit more attention when it comes to accuracy. Whether stylish or not, I do think it will become somewhat normalised and that is concerning. I do feel, as people, we are less attached to the English language and the written word. A lot of my hankering and observation comes from a desire to see these big and mindblowing songs that take us into this imaginative world; Pop songs that are more complex and music that, generally, spikes the imagination. Maybe it is hard to correct everything and see a big improvement but I do feel like we need to make some changes. To start with, whether the young find it eye-catching or not, it would be good to see fewer songs that are either all lower-case...

 PHOTO CREDIT: @ninjason/Unsplash

OR ALL UPPER-CASE.