FEATURE: Strike a Pose: The Power of a Truly Fantastic Album Cover

FEATURE:

 

 

Strike a Pose

THIS COVER: Slowthai - Nothing Great About Britain/MAIN IMAGE CREDIT: Crowns & Owls/ALL OTHER IMAGES/COVERS: Getty Images/Spotify

The Power of a Truly Fantastic Album Cover

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THE image that I have used for...

 THIS COVER: The Beatles - Abbey Road

the top of this article is from the cover of Slowthai’s upcoming album, Nothing Great About Britain. Who knows what one will expect from the record but I feel like, obviously, there is dissatisfaction with the state of the nation: the political divides and how we are all sort of drifting away at the moment. It sounds bleak but, at times like this, artists are reflecting what is happening. Rather than portray an image that is quite bleak or overly-serious, the cover catches the eye. Consider the stocks at the front and the cheeky grin on the face of Slowthai. Look back at the flats and the Union flags hanging from the bannisters. It seems to say so much without giving too much away. I like the fact that Slowthai could have gone for a rather straight and boring cover but, given the title of his record, he has been thinking and created something that intrigues you. I am not suggesting a cover is powerful enough to make you buy the album but it is definitely an important factor. Look at the classic album covers from history and the affect they have now. Whether it is the simple-yet-iconic image on The Dark Side of the Moon by Pink Floyd; the underwater baby of Nevermind or The Beatles’ triple-masterpiece designs on Sgt. Pepper’s Lonely Hearts Club Band, The Beatles and Abbey Road. There are some rather poor albums that have great covers and, conversely, some top records that boast some rather woeful covers.

 THIS COVER: Billie Eilish - WHEN WE ALL FALL SLEEP, WHERE DO WE GO?

It is always satisfying when you pick up a classic that has that aesthetic genius and this is backed up by a stunning and imaginative cover. This is a subject I have covered before but I keep saying how important it is to create a great album cover. Even though the music industry is more digital and Internet-based, that is not to say the visual side of things should be ignored. I do feel that artists need to concentrate on the visual element because it holds that potency and importance. Even if we are getting music from Spotify, there is an image associated with a song or album. Those who still love their vinyl do adore a great cover/sleeve so artists have the opportunity to create something truly staggering! Every year, I love to look at the best album covers and see if there is a correlation between the music we hear and the image on the front. Look at recent albums such as Billie Eilish’s WHEN WE ALL FALL ALSLEEP, WHERE DO WE GO? and its ghoulish, rather scary image. It is the young Eilish with those piercing white eyes; a sort of demonic figure that is stalking someone’s dreams. There are questions one asks and considers: Is she awake or is this a dream? What does the image say and what are we to take away? What has struck me most about the best albums of this year so far is, actually, how casual the artwork has been.

 THIS COVER: Julia Jacklin - Crushing

I will talk about some of last year’s best but, in terms of 2019, Slowthai is setting an example! Apart from the charm and cuteness of Julia Jacklin’s Crushing – where one smiles at the image and it sort of juxtaposes an album that is emotionally raw and fraught at times – some of the biggest records go for a trope: the artist in profile; a simple portrait that holds no true intrigue and nuance. From James Blake’s Assume Form and Sleaford Mods’ Eton Alive; Little Simz’s GREY Area to Sigrid’s Sucker Punch and Solange Knowles’ When I Get Home. I look at those covers and, whilst the music within is great, I wonder whether a more arresting and striking album cover could have been created! It is a missed opportunity when you put out an album. Although we do not have the same culture regarding C.D.s, cassettes and vinyl; I do think a great album cover is important and says a lot about the music/artist. Even though I have not yet listened to Foals’ Everything Not Saved Will Be Lost, Pt. 1 - not a fan of that title! – it has a brilliant cover and you are definitely struck by it. Whereas Slowthai has gone for something cheeky and political, Foals have gorgeous image that looks like a film still – an apartment and plant that clashes black-and-white against pink. I am not sure where the shot was taken and what the plant is but it is an image that draws you in and, for me at least, I do wonder what inspired them to use that shot.

 THIS COVER: Foals - Everything Not Saved Will Be Lost, Pt. 1

The difference between a truly inspiring album cover and a boring one can make a big difference. Whilst there is no doubt about the majesty of Little Simz and Solange Knowles, I do wonder whether their album covers’ looks were correct; whether they missed out on creating a wondrous and jaw-dropping images. Consider some of the more pleasing and standout images from this year’s albums. From the slightly disturbing and busy image on Dave’s PSYCHODRAMA to the cluttered floor and childhood scenery of Sharon Van Etten’s Remind Me Tomorrow – a cover that holds clues and raises questions; one where you get a sense of the music/themes within. Even if you have this image that catches you by surprise because of its intensity or oddness, this is what you want from a cover! I love the visual style of The Twilight Sad’s IT WON/T BE LIKE THIS ALL THE TIME and would not normally have checked out their music. I did and, after a cursory listen, I was invested in the album and will keep listening. From the mix of sexual/alluring and confident from Jenny Lewis (On the Line) to Self Esteem (Compliments Please), I do like the fact that there are artists taking time to consider album covers and not only what that says about them but how it guides the music. There is something mesmeric – not in a sexual way – about the shot from Jenny Lewis’ On the Line or the slightly busier and bolder statement from Self Esteem.

I am not usually a fan of portraits or the artist appearing on the cover with nothing else but one album that did win me in that sense is Lucy Rose’s No Words Left. This is a black-and-white shot where the artist’s face is covered by her hair and there is something mysterious about that. You ask whether that image represents a need to be hidden or certain facelessness. I think you can get people talking and wondering without having a very busy and chaotic image. Last year boasted its share of great album covers. I am a bit ho-hum regarding Ariana Grande’s covers but her signature flipped image has become a staple. For Sweetener, we had this beautiful shot of her and, whilst not complex or challenging, it is definitely recognisable and associated with Grande. ASTROWORLD by Travis Scott is this strange sort of theme park where there is this prevalence of darkness and fire. Consider a simpler shot that could be seen as rather lazy or lacking any imagination. Whilst I content this year’s efforts from Sleaford Mods and James Blake are wasted chances at great images, last year saw Teyana Taylor release K.T.S.E. This album’s cover shows her lying on a bed and it reflects the album’s personal, intimate and revealing songs. The cinematic/filmic colour palette and composition is striking and one is definitely intrigued looking in; curious regarding the music and what the artist is about.

 THIS COVER: Teyana Taylor - K.T.S.E.

Also, Missy Higgins’ Solastalgia is about climate change and the impact that is having on all us. The colour palette, again, is perfect and you get this simple-yet-deceptive image that certainly marks it out! Continuing with covers with the artist in focus and the cover image reflecting what the album is about, Hayley Kiyoko’s Expectations is her looking at this nude model and, in a sense, symbolising the fact she takes control of her art and her direction. In essence, it says that Kiyoko is the one who guides her sound and progress. Last year definitely boasted a lot of great album covers. We had the gorgeous painting/image from Madeline Kenney’s, Perfect Shapes and the compelling cover from Triathalon’s album, Online. A lot of artists do favour a portrait or something simple but something a bit more out-there and unusual can work well. Think about the strange and oddly compelling figure from Young Fathers’ Cocoa Sugar or the fantastic composition from U.S. Girls’ In a Poem Unlimited. Editors gave us Violence and, with it, twisted bodies on the cover; Gaz Coombes juxtaposed his World’s Strongest Man boast with an image of her lazing by a pool without any strength needed; Low’s Double Negative relied on a minimalist image that definitely resonated harder than, say, something a bit busier and more packed. It is interesting seeing what strikes us and the covers that stand out. Many artists do go for a simple shot of them but I think that is quite a gamble. Unless you can create something as iconic as The Beatles’ Abbey Road then it can be tricky hooking the imagination that easily.

 THIS COVER: Low - Double Negative

I do admit that some of music’s best-ever covers stay with you because there is that singular, straightforward image that says what the music is going to be about and does not need a thousand words. Consider the saucy and slightly sleazy cover for The Rolling Stones’ Sticky Fingers or Sex Pistols’ Never Mind the Bollocks, Here’s the Sex Pistols: two iconic covers that definitely tell you what you expect when you drop the needle on the record! The beautiful artwork on Miles Davis’ Bitches Brew and Fleetwood Mac’s Rumours stands alongside something completely different...such as The Clash’s timeless London Calling. However you do it, I do think artists need to give thought to their covers. I am not sure which covers from the past decade or two can compete with the best – how many can rival Nirvana and The Beatles when it comes to those classic images?! Slowthai started me on this train of thought and I think it is interesting thinking about what defines a great album cover and whether artists today – with all the technology in front of them – are producing better ones than musicians of the past. It is an interesting debate but I do think many artists are missing out and not taking a chance. The very best of this year might still be ahead but there are already signs we are going to see some pretty memorable and awesome examples. Say what you want about the importance of an album cover in a digital age but, to me, a well-composed and stirring image can say as much as…

THE music itself.

INTERVIEW: Tommy Ashby

INTERVIEW:

Tommy Ashby

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I am starting off the week...

 PHOTO CREDIT: Fraser Taylor

by speaking with the Scottish songwriter Tommy Ashby about the track, Cocoon, and its origins. Although he has released another track in the time between the interview being conducted and published, I wanted to know what we can expect from the upcoming E.P., Golden Arrow.

Ashby discusses albums important to him and whether there are tour dates coming up; when he began writing music and which artists inspired him growing up; how he relaxes and unwinds away from music – he picks a cool song to end the interview with.

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

Hi. My week has been a bit mental. I was up in Scotland shooting a music video and supporting a lovely band called Skinny Living; then I hightailed it down to Cornwall for rehearsals and photos. To shoot the music video, we hiked twenty kilometers up to an abandoned reservoir in the snow and up the side of a waterfall in the hail, all carrying our equipment. I felt very sorry for the cameraman. Yesterday, I was in Oxfordshire recording a session doing a few songs for Bob Harris. I was very excited about that. Bob is a legend! So, it has been some week…

Also, lots of hours spent eating biscuits in my car.

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

Ehh, hello everyone. I’m Tommy. I am a songwriter from Innerleithen in the Scottish Borders. I came down South to do a PhD in Acoustics and ended up playing a session guitar for a few artists and staying here for a bit. I’ve recorded a couple of E.P.s down in Cornwall with Sam Okell.

What is the story behind the single, Cocoon?

I wrote Cocoon in a beautiful little studio called La Frette just outside Paris having been on the road for two months straight. I was there to record guitar for another artist but, while they recorded drums, I snuck upstairs to one of the bedrooms and started tinkering on the grand piano in the corner. This was apparently the room where Nick Cave stays on his trips to the studio and I like to think some of his inspiration rubbed off because the song just fell out in one go.

I ran downstairs and grabbed a mic and started recording it on the spot. A lot of it was also recorded using my laptop microphone, super lo-fi! You can hear the birds singing outside and Olivier, the studio owner, pouring the dish water out of the window toward the end. We tried to re-record the vocals and piano but the atmosphere just wasn’t there, so the birds and splashes stayed. I think this song captures a wee moment in time, which I think is pretty cool.

It is from the E.P., Golden Arrow. What sort of themes go into the E.P. would you say?

I think the general theme is the disconnection a lot of people feel in modern society. I was definitely feeling disconnected as a result of being on tour for such a long time. I think it is a thank you to the people who make you feel needed.

PHOTO CREDIT: Fraser Taylor

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

My dad is a musician so we were all immersed from a young age. We had jam sessions every few nights in the house, I played guitar for my sister at various musical events around the villages and our area is a bit of a bluegrass/country music enclave, so there was lots of general pub jams too. In terms of music, mum and dad always had music on, Neil Young, Simon and Garfunkel, Dixie Chicks, John Martyn, Gillian Welch and Dave Rawlings and Jeff Buckley to name a few.

When did you begin writing? Was there a reason for stepping into music?

I have played music for as long as I can remember so I can’t really imagine not doing that. As for writing, having played for other people for a while, I began to feel like there was some stuff I wanted to say.

Your songs have been used in some pretty big T.V. shows. What does it feel like hearing one of your songs on the screen?!

To be honest, it still feels pretty weird. You know all the little quirks in the track, how some of it was recorded in your bedroom; some in a little box-room in deepest darkest Cornwall, sounds recorded by stamping on a cardboard box or just generally wailing into a microphone. So, to see it shown in a super-polished, amazing T.V. programme is quite a contrast. Who am I kidding, though. It feels amazing as well!

PHOTO CREDIT: Fraser Taylor

How does your music come together? Do you experiment on the laptop and gradually work on it - or does it depend on the song?

I think I come from a more songwriter-style approach: I try to get my song in shape with just a guitar before approaching the computer. It just means I know it hangs together as a song. I can get very excited about silly sounds and production but, if the song isn’t there, then it ain’t worth much! I try to record as much as possible before heading down to Cornwall with Sam to add all the extras. That is a fun experience; tinkering with sounds, having as many gadgets linked up as we can.

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

My first night supporting Rhodes in Utrecht a couple of years ago. It was my first gig outside of the U.K. and the audience was just incredible. It was the moment where I thought that maybe I could do this music malarkey.

I played four nights at Wembley Stadium last year as a session guitarist. That wasn’t playing my own stuff but it did feel pretty mind-blowing. Though a week later, we played the Stade de France in Paris just after they had won the semi-final of the World Cup and the atmosphere was electric. I remember glancing across at the drummer to see him crying with happiness. That sticks in my brain too.

PHOTO CREDIT: Fraser Taylor

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

Revival - Gillian Welch

My sister and dad do a duet on Annabelle – track-two on this album - so it always shoots my straight back to sitting in the living-room as kids singing around the fire. It’s a heartbreaking song; the whole album rings with the excitement of a first record too.

This first lines of Barroom Girls floored me when I heard them:

“Oh the night came undone like a party dress/and fell at her feet in a beautiful mess/The smoke and the whiskey came home in her curls/and they crept through the dreams of the barroom girls”.

It’s just so full of images….

Also, Jason Isbell, another artist I am a huge fan of, tweeted reviews of this album when it first came out and they were pretty bad - which is inspirational as it leaves you thinking that, if this album can get a bad review, then any album can. Pretty questionable reasoning from me but there you go.

Graceland - Paul Simon

This is just a joyous album for me. It reminds me of uni. I don’t know why I wasn’t listening to The Killers or Kings of Leon or the Arctic Monkeys like everyone else. Lyrically, he is a bloody genius.

Grace - Jeff Buckley

Ahh, Jeff. I am aware that most male singer-songwriters cite him but it would be false if I were not to include him. When I first heard Hallelujah I was transfixed. I can remember getting ribbed in school for listening to a religious song while everyone else was listening to Kanye West. Then, my player kept going and I discovered Lover, You Should’ve Come Over and I learned to love that even more. Grace, Last Goodbye and So Real: harmonically, he created a whole new palette of colours which people have been stealing from ever since. And the whole thing is just raw and beautiful!

Jeez, I need to get a bit more modern but there you go!

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

I think I would want to support Jason Isbell. He seems like a stand-up guy. His songs are brilliant and he is an amazing guitarist, so I dream that we might have a jam onstage one night!

Rider: I once got a one-pack of fig rolls for my birthday and I think that might be my ideal rider.

PHOTO CREDIT: Fraser Taylor

Are you planning any gigs in the coming months?

I have my own headline show in London on 10th April at The Slaughtered Lamb. In the lead up, I’m supporting Luke Sital-Singh in Southampton (6th), Cardiff (7th); London (8th) and Manchester (9th).

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

When performing on-stage is going well, it is the best. It’s just that those moments are rare and they can disappear in seconds and I think that why people often prefer the studio. I love both. You can lose yourself in the studio for hours and hours without thinking about food or the outside world but the high you get during and after a good gig is like nothing else. Plus, things happen in the moment when playing with other musicians that you can’t replicate with overdubs in the studio. That is why I am all for live studio recordings as much as possible!

 IN THIS PHOTO: Eliza Shaddad/PHOTO CREDIT: Melanie Tjoeng

Are there any new artists you recommend we check out?

Eliza Shaddad, Tusks; RHODES, Phoebe Bridgers, Isaac Gracie; Bad Honey and Tom Speight.

 IN THIS PHOTO: Phoebe Bridgers

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

I run a lot. When I was a teenager, I thought I would make a career out of athletics but injuries scuppered that. I can just concentrate on something basic like doing 400m laps in a set time. It quietens my mind. It’s not always easy, though, as people who always find exercise easy are either mental or not trying hard enough!

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

Dylan Thomas - Better Oblivion Community Centre

It’s been my driving bop this week (smiles).

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Follow Tommy Ashby

PHOTO CREDIT: Fraser Taylor 

Official:

http://www.tommyashby.com/

Twitter:

https://twitter.com/TommyAshbyMusic

Facebook:

https://www.facebook.com/tommyashbymusic/

Spotify:

https://open.spotify.com/artist/7y1RS42LqlRYnpONXTjN3t?si=6FFFTxjPTsWu7kRqW11MHA

Instagram:

https://www.instagram.com/tommyashbymusic/

FEATURE: Dreams Against the Landslide: Stevie Nicks and Janet Jackson Are Calling for More Women to Be Inducted into the Rock & Roll Hall of Fame...the Industry Needs to Listen and React

FEATURE:

 

 

Dreams Against the Landslide

IN THIS PHOTO: Stevie Nicks has been inducted into the Rock & Roll Hall of Fame twice but has called for greater recognition regarding women/PHOTO CREDIT: Peggy Sirota  

Stevie Nicks and Janet Jackson Are Calling for More Women to Be Inducted into the Rock & Roll Hall of Fame...the Industry Needs to Listen and React

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ONLY yesterday...

 IN THIS PHOTO: Philip Selway and Ed O'Brien of Radiohead with David Byrne at the 2019 Rock & Roll Hall of Fame Induction Ceremony/PHOTO CREDIT: Theo Wargo/Getty Images

I was taking about the continued lack of female headliners in music and why those in a position of power need to address their ways and do something about it. I shall not repeat that subject for a bit but, just as I have been writing about festivals’ imbalance, two of music’s biggest artists have been speaking about the Rock & Roll Hall of Fame and how few women have been included. As Janet Jackson and Stevie Nicks were inducted into the prestigious annals, they were standing alongside five all-male bands who were receiving the same honour. One might say that there are fewer classic female artists than me but consider those who have not been included into the Rock & Roll Hall of Fame. There is always talk about those who should be in and those who have been omitted. Janet Stevie Nicks has already been inducted but this time was her second occasion – not many artists can boast that. There has been long-talk about Janet Jackson being inducted into the Rock & Roll Hall of Fame but, finally, she has got her reward. This article talks about Friday’s event and why there are calls for action:

“The bands inducted at the Barclays Center in Brooklyn on Friday night were the Cure, Def Leppard, Radiohead, Roxy Music and the Zombies. Neither Jackson or Nicks were around at the end of the evening when another Briton, Ian Hunter, led an all-star jam to All the Young Dudes. The Bangles’ Susanna Hoffs was the only woman onstage.

Jackson issued her challenge earlier.

“Rock and Roll Hall of Fame,” she said, “in 2020, induct more women.”

Nicks was already a member of the hall with Fleetwood Mac but became the first woman to join 22 men, including all four Beatles, in being honoured twice. From the stage, she told of her trepidation in first recording a solo album.

She encouraged Jimmy Jam and Terry Lewis, producers of her breakthrough Control album and most of her vast catalogue, to stand for recognition, as well as Questlove, who inducted her. She also thanked Dick Clark of American Bandstand and Don Cornelius of Soul Train, and choreographers including Paula Abdul”.

It is clear that the gender imbalance is not to do with quality, legacy and promise. Some say that, in order to get into the Rock & Roll Hall of Fame, there should be some form of Rock in the music. Is it dishonest and wrong to include an artist who is in genres like Folk and Pop? Billboard have written an article who claim artists such as Kate Bush, Dolly Parton and Kim Gordon (Sonic Youth) should be inducted. Lauryn Hill and Missy Elliott will be eligible for inclusion in years to come so one wonders whether their names will be selected. It is odd to think that so many great artists have been overlooked – Billboard talked about those who should be in by now:

“The lack of gender balance was conspicuous enough that upon being inducted in 2016, Steve Miller -- one of the five all-male acts being honored -- openly called out the museum's governing body for the disparity, pointedly encouraging them to "keep expanding your vision, to be more inclusive of women.” The returns for 2017 have hardly been overwhelming: Folk legend Joan Baez will be inducted this Friday (Apr. 6), but Janet Jackson and Chaka Khan -- both having been nominated for the second time -- will not be.

IN THIS PHOTO: Björk/PHOTO CREDIT: Santiago Felipe  

Carole King. It seems near-impossible that Carole King, one of the most influential recording artists of the '70s and the woman behind Tapestry, one of the decade's most critically and commercially undeniable blockbuster LPs, could have escaped induction by now. But while the iconic singer-songwriter has been honored for the "songwriter" half of her double-billing, having been inducted along with her Brill Building teammate Gerry Goffin back in 1990, her performing career has gone unrecognized. Yes, Tapestry towers over the rest of her catalogue, but it's not like most post-Baby Boomers could name a James Taylor album not called Sweet Baby James either, and that guy got in 17 years ago.

Bjork. "But didn't Debut come out in 1993?" you might wonder. True, but despite that breakthrough album's title, Bjork's proper debut came back in 1977, when she released a self-titled album in Iceland as an 11-year-old -- making her Hall-eligible for well over a decade already. Though Bjork's artistic achievements have never resulted in world-beating sales, and her symphonic pop compositions are not easily classifiable as rock (or as anything else), her singular artistry, universal acclaim and enduring influence on the ensuing generation's best and brightest musicians should certainly have earned her a nomination by now”.

Kate Bush and Whitney Houston have not been included. Again, one can argue that, genre-wise, these artists might have done less to progress Rock than people like Radiohead and The Cure.

 IN THIS PHOTO: Whitney Houston (a big artist who warrants inclusion into the Rock & Roll Hall of Fame)/PHOTO CREDIT: Getty Images

That is true, I guess, but one must not be rigid and too unyielding regarding sound and being narrow. I do think that Kate Bush, as a mercurial and unique artist, is perfect for induction and the same goes for Whitney Houston. Even if someone like Bush has not broken the U.S., one cannot deny her influence and impact. There are other names one can throw into the mix but, every year, the Rock & Roll Hall of Fame is very male-heavy. The fact that there are these omissions makes me wonder what the selection criteria is and whether white dudes in music not only make the decisions but include white dudes into the Rock & Roll Hall of Fame. Others might say that it is not the be-all-and-end-all when it comes to music but it is an important organisation. In years to come, we will look at all the names included and will we bemoan the lack of women?! The likes of Janet Jackson and Stevie Nicks know there is a problem that needs to be addressed. I am not one of those people who feels something called the Rock & Roll Hall of Fame should only be for Rock artists. Some disagree. This article from Odyssey has a distinct viewpoint:

“Bands like Public Enemy and Run D.M.C shouldn't be in the Rock and Roll Hall of Fame because they are not in the rock genre (though they may get a pass for collaborating with metal group Anthrax and rock group Aerosmith, respectively). If you were to go onto iTunes and look for these artists, it wouldn't be under the rock section, would it?

IN THIS IMAGE: Run-D.M.C./IMAGE CREDIT: Richard Day 

This is the inherent problem of the Rock and Roll Hall of Fame: Bands like Deep Purple, whose song "Smoke on the Water" is the first song everyone learns on guitar, are only just being nominated this year even though they have been eligible for induction almost since the beginning of the institution. To be eligible, you need to have released your first single 25 years before the nomination. This is basically the only rule in being inducted, and bands that are crucial to the evolution of the genre, such as Judas Priest and Iron Maiden, have been ignored for the introduction of newer bands such as Green Day.

That's not to say that the bands inducted don't deserve the honor. Far from it; most of the bands that have been inducted definitely have contributed significantly to music. The problem is that the nominees for the Hall are chosen by just a few individuals who may or may not have a vendetta against certain groups or artists, thus preventing them from being inducted”.

 Is it a case of rebranding the Rock & Roll Hall of Fame or having several offshoots that include other genres?! That might be extreme and many wonder whether there is any relevance or point having a Rock & Roll Hall of Fame. I feel we should keep it but not be so beholden to which styles/artists we include. In any case, the lack of women is troubling and one cannot claim there is a lack of women at the heavier end of the music spectrum.

Until there is a body that recognises more genres and styles of music, should we continue to see the male dominance continue? I think many criticise the Rock & Roll Hall of Fame because it is very male-heavy and white. There are dangers when it comes to opening the borders and being relaxed regarding inclusion criteria but I do think Nicks and Jackson have a point. It is clear that there is a gender problem across music and, in every corner, the middle-aged white men are heavy and wield too much power. I do think there are few excuses for ignoring great women like Kate Bush and Whitney Houston. This article - reacting to Patti Smith’s induction in 2007 - is interesting. There are albums like Horses that have inspired Rock acts and, knowingly or not, changed a genre. Look at all the women working in other genres who have had a massive impact on Rock. I do not think we should be strict regarding eligibility into the Rock & Roll Hall of Fame and there are so many influential women who have not received their reward. I do hope next year is fairer and some of the big names who have not been inducted into the Rock & Roll Hall of Fame get there. I wonder which other bands/names (men and women) have been denied and are due some fresh investigation. I get excited seeing big artists getting acclaim for their contribution to music but, so often, it is the men who get the biggest props – this needs to change and there needs to be greater balance. This time next year, let’s hope that some of the great women still waiting for their moment in the Rock & Roll Hall of Fame finally have...

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: John Carder Bush

THEIR hard work recognised...

FEATURE: An Endless Tease: Is the Modern Promotional Cycle Draining the Suspense and Excitement from Music?

FEATURE:

 

 

An Endless Tease

PHOTO CREDIT: @marvelous/Unsplash 

Is the Modern Promotional Cycle Draining the Suspense and Excitement from Music?

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I realise that there is nothing new about artists...

 PHOTO CREDIT: @kmuza/Unsplash

drip-feeding material and teasing work but the issue has become more pronounced over the past couple of decades. I feel that the more the Internet takes over and the more we become initiated with social media, the more that takes over. I think a modern artist cannot do without social media but I do wonder whether, in many ways, many promote in a very structured and business-like way. I get a lot of requests and, although I have covered this subject before, you find that everything is meticulous and timed. Artists have impact dates for their singles and, before an album comes out, there are teasers in video form. We might get a few singles and posts; there will be endless little bits of information parcelled out before the actual product comes along. Every time a big album celebrates an anniversary, I am keen to study it. I find that, compared to music and the industry now, there was less in the way of the machine and the business side. Look at records from the 1970s and 1980s and, of course, there was the act of bringing out singles and doing the whole promotional circuit. Now, because the competition is hot and all over the place, there is this need to up the game and utilise technology. Even if music itself has not become over-processed and technological, the act of promoting music definitely lack a lot of naturalness and spontaneity.

I understand that, whether you are a rising artist or someone big, you need to have some form of organisation and plan when it comes to your material. I am interested seeing how artists unite with P.R. agencies and the fact there is so much happening behind the scenes. So much of my daily social media viewing involves singles being teased and artists ladling out photos, videos and information regarding their latest campaign. I guess it adds to the anticipation and gets people ready for what is to come. It is also nice to see artists excited about music and not willing to give everything away right at the top. Would it be too much of a risk for artists to just put an album out and not expend too much effort? By that, I mean giving short announcement and catching people off their guard. Maybe the risk would be too great for newer acts that rely on engaging all their Facebook, Twitter and Instagram to get their music heard. Is the greater sacrifice of the social media age the lack of human contact and the effort needed to succeed? With every album/song release, there are radio interviews and media attention; there is the expectation and build coupled with the hard work needed to get the material heard and shared. I think the problem exists when we talk about the bigger acts; those that are getting onto the popular radio stations and a bit further up the ladder.

 PHOTO CREDIT: @black_onion/Unsplash

I listen to stations and you tend to hear someone’s single over and over again. Then you get the same thing with the next one or two singles. By the time you have experienced all those songs, the album is not yet out and there is a wait. I do wonder whether the fact we become so aware of a few singles from an album distorts our perception as albums as a whole. Do we gravitate towards those tracks or skip them because they are firmly in our heads? There is a certain romance linked to just having an album ready and, with a few announcements and cool promotionals, putting it out there. Maybe there would be the one single a few days before or some cryptic posts that get us excited. Then, with little warning, the album arrives and we have to experience it all at once – without all the business, endless tease and the wait. Some might say that putting an album out without warning and suspense means that artists are creating gimmicks. There have been a few cases of big artists putting out material without all the circus and festival of the modern promotional vibe. Beyoncé’s eponymous album of 2013 was one occasion of an artist getting tired of doing things the same way. This Guardian article tells the story:

“Beyoncé has released her fifth solo album, with no warning, straight to iTunes. The album – called Beyoncé – was announced on the morning of Friday 13 December, along with the news that it was already available.

 

"I didn't want to release my music the way I've done it," the singer said. "I am bored with that. I feel like I am able to speak directly to my fans. There's so much that gets between the music, the artist and the fans. I felt like I didn't want anybody to give the message when my record is coming out. I just want this to come out when it's ready and from me to my fans."

In the statement announcing the album's release, some bold claims were made: that this was "an unprecedented strategic move", and that this was music "stripped of gimmicks, teasers and marketing campaigns". In fact, the surprise release of music has become in recent years the gimmick of choice of pop's superstar class. In 2007, Radiohead gave just 10 days' warning of the release of their album In Rainbows, for which fans could pay what they wanted. The following year, Jack White's Raconteurs project announced their second album, Consolers of the Lonely, with just a week's notice. And this year has seen surprise releases from David Bowie – who premiered a new single to the complete shock of the music world, following it with the album The Next Day – and My Bloody Valentine”.

Not only have artists like Beyoncé and Radiohead stepped away from the process and usual manner of promotion but, at the same time, offered something unique regarding purchasing. Maybe, again, one walks close to gimmick territory by doing a pay-as-you-like scheme or releasing a visual album. For smaller artists, this might not be possible but I do feel people need to shake it up.

Happy Purim 🍎 #concealed #holiday #magic pic.twitter.com/438xYeWrR1

— Madonna (@Madonna) March 21, 2019

I do think it is a problem that approaching artists need to spend so much time engaging in promotion and spending so much time online. With every song, there is this plan and point-by-point agenda; the singles all come and then there is the need to ensure there is adequate tease and mystery. I do like as bit of build-up and, to be fair, an artist like Madonna is the master when it comes to the slow campaign. She has been putting out cryptic Instagram photos, messages and everything else all building to this as-yet-untitled album – although many say it is going to be called Magic. Maybe it is not possible for her to just bring an album to us out of the blue but I do wonder whether an album is more impactful and bold if there is no real warning. I know that so much of modern music is about numbers and popularity. If you have millions of Instagram followers then posting sporadic photos and clues will get more attention and following than a single message that announces an album. The same goes for other platforms. Many of us are experiencing these singles and having them put in our face and, by the time an album comes about, are we bothering with the other songs? I tend to find that the less revealed – within reason and logic – means we are more likely to explore an entire record.

 PHOTO CREDIT: @pawelkadysz/Unsplash

Maybe I am being a bit old and crusty but I do sort of miss the days where albums used to be promoted by T.V. adverts and there was the odd bit on the radio. There was not the same explosion and mass of images and messages and, as such, there was intrigue and genuine excitement. I do think that social media has helped bring music to new corners of the world and helped give careers to those who, years ago, would not have had that opportunity. The flip-side to this vast world of information is the fact music has become more about business and numbers than anything else. I mentioned Madonna just now but, actually, I kind of want the album out. There is also the expectation that comes with tease and gradual revelation. Can the finished product ever match perception and excitement? I think that, in many ways, the more overt and revealing artists are the less substance an album has. It is hard to explain but I feel the power and place of the album will increase when we take the foot off of the gas. That is not to say we need to ignore promotional campaigns and all go rogue but it would be nice to see a bit of change and surprise. Maybe artists releasing albums with little fanfare would create a bigger impact than this bit-by-bit campaign. I would be much keener to explore an album by someone like Jack White or Madonna if there was little notice and hardly any information out there. It is a big risk but I think it can pay off big. I do think we are all getting overloaded by information and the act of promoting an album/single is exhausting. Maybe, if we give the listener more suspense and less information it will rekindle something in the music industry that has been lost or compromised to an extent. Perhaps it is a gamble but I would like to see artists take this leap...

 PHOTO CREDIT: @jan_strecha/Unsplash

ONCE in a while.

FEATURE: Her’s and Ours: Remembering a Band Who Set a Shining Example

FEATURE:

 

 

Her’s and Ours

IN THIS PHOTO: Her’s/PHOTO CREDIT: Ryan Jafarzadeh

Remembering a Band Who Set a Shining Example

__________

THIS week has not been a great one for music...

PHOTO CREDIT: Neelam Khan Vela  

and we have seen too much loss! Not only did Scott Walker die earlier in the week but we lost a very promising and exciting band, Her’s. In fact, they are a duo but, semantics aside, many were shocked by their premature deaths. It is always shocking when we experience tragedy in music but this week has been especially tough. Audun Laading and Stephen Fitzpatrick were hit by a wrong-way driver in Arizona on Wednesday. The news was confirmed on Thursday and fans of the band were devastated. I am fairly new to Her’s but know what an impact they made in their short time. Here, in this article from The Guardian, the news was reported:

“There’s a sense of shock within the Liverpool music community today, as people come to terms with the tragic death of two of its rising stars. Audun Laading and Stephen Fitzpatrick, who made up the band Her’s, were travelling to a gig in California with their tour manager Trevor Engelbrektson on Wednesday night when all three were killed in a traffic accident. The news was confirmed by the band’s record label, Heist or Hit, on Thursday evening.

Liverpool may be fiercely proud of its own, but gladly embraces those who wish to lay down roots in the city and contribute to its cultural life. Fitzpatrick and Laading were prime examples of that. They became recognisable faces from the bars, venues and streets of Liverpool: they belonged. Jez Wing, a music teacher, keyboard player with Echo and the Bunnymen, and fan of Her’s has fond memories of chatting to the pair while walking down Bold Street, “talking about how brilliant I thought their music was and how brilliant I thought they were. They were really fired up for the tour. The loveliest lads you can imagine – it’s a huge loss to the Liverpool music scene. Horrible.”

Liam Brown is a labelmate of Her’s under his Pizzagirl moniker, and toured with the band last year. As with everyone else who came into contact with the pair, he speaks of Fitzpatrick and Laading with the highest regard. “What’s really sad is that we’re not going to hear any more music from them. They were such great people – really warm and funny – but also more than that. They’ll get so many new fans to their music now, but in the most tragic circumstances.”

These two young artists lived with great vigour and happiness. Tonight, their music is a salve for those still reeling from their deaths. It is ringing out in the bars and venues in Liverpool they frequented, and their impact will ring out for longer, and further”.

We have seen artists die suddenly before but there was something extremely unfair about Her’s’ demise. They were travelling to a gig in California and one feels the mood would have been excitable. They would have been in their vehicle and, although tired, pumped to go to a new location. The fact they were struck so suddenly and brutally has denied the music world of a band who were on the cusp of something great. It is sad to see young men die so young – but we do have their music in the world.

Many people have provided their impressions of Her’s and why they were so loved. Liverpool took them to heart and the respect between the band and city is clear. Liverpool will never forget them and let’s hope that people keep the music of Her’s alive. Not only is the music of Her’s bright and indelible but the chaps themselves burned themselves into the hearts of their fans. I urge people to listen to their album, Invitation to Her’s as it is filled with jangly music that lifts the spirit but, behind it all, there is a sophistication and depth that strikes you. I have heard few bands that create music as interesting and arresting as Her’s. Songs of Her’s (2017) showed they had immense promise but their sophomore album, released last year, took them up another level. Their music is tight and light but it has a real drive and intelligent that means it attracts everyone. Their live gigs were lauded because of how the music translated and how Laading and Fitzpatrick connected with the audience. They always had a smile and, whilst this feature might be a bit late paying tribute to them, I feel a lot of other artists should follow their lead. Just listen to their music and hear how it makes you feel! There is so much negativity and emotional drain in music and it can be hard finding cheer and energy. Her’s dealt with serious subjects but they always wanted to make the listener feel better and in a warmer place. They definitely did that and, because of this, we give them thanks.

PHOTO CREDIT: DIY 

One can never know how far Her’s will go and what could have been. Their U.S. tour was cut tragically short and it is a huge loss to the fans that were waiting to see them and never got the chance. I suspect Her’s could have been Glastonbury headliners and a worldwide success. It is clear their music had a solid fanbase and I hope, following their death, many people share Her’s to the world and their wonderful messages. Perhaps more extraordinary than the music itself is the personalities of Laading and Fitzpatrick. I do feel there is a lack of standout personalities in the industry and it can be hard bonding with an artist. In the case of Her’s we had two lads who were full of smiles and laughter and made everyone feel better. At their gigs, they would banter and chat; they had bright smiles and made sure everyone was having a great time. They did this in their music too which makes it heartbreaking we have lost them. Her’s will live on but I do feel like the music industry can learn a lot from them. Whether it is the way the band made their audiences come alive or the sheer addictiveness of the songs, there is so much we can take away. I have been listening to Her’s’ albums since Thursday and, having experienced a few of their songs before, discovered new gems and diamonds.

Perhaps Low Beam (Invitation to Her’s) is my favourite songs of theirs but, in truth, everything they have put out is wonderful! If you are starting a band or lost for direction, have a look and listen to Her’s and you will find guidance. Look at their videos and interviews around and you will see these genuine guys who, alongside their tour manager, were cruelly taken from us. I think we could all take guidance from Her’s regarding their attitude and charm. There are great interviews out there but, from one they gave to DORK last year when promoting Initiation to Her’s (technically their debut album: Songs of Her’s is more of a collection of previous single), you can see how they approached their album and their shock when it comes to gigs and how the fans respond to them:

“I feel like people thought we were wussing out a bit with the collection thing. When we announced this one they were like, ‘Isn’t this the second album really?’ We got cold feet for the debut though so I guess we couldn’t put it off much longer, but I feel like we approached this one more confidently,” Stephen explains.

Some of the ideas behind the album had been fermenting a while, with fragments of songs laying around the cutting room floor for up to two years before being called up to the front line.

Stephen continues: “It seemed very clear what needed to be on 'Songs of Her’s'. It was basically what we were playing actively live at the time, which is why it felt not scattered, but we were dipping our feet in a lot of different sounds at that point.”

PHOTO CREDIT: Neelam Khan Vela  

“It’s crazy; they know the lyrics and everything - probably better than I do,” Auden begins. “I thought the Waiting Room like the first London headline show we did - obviously it’s not the biggest, a 120 cap, but it was packed out and everybody was there to have the best time, and they all knew the lyrics. That was a proper intimate moment”.

Their infectious humour and closeness is what made them a dream to see live, listen to and interview. In another interview they gave last year, they spoke about their own game they developed:

“What do you do in your spare time between travelling and playing shows, do you have any games to battle the boredom?

Yeah, we’ve actually gotten to the point of developing our own game! Our high calibre, medium intensity, hat throwing game, Bobbin’! It revolves around spinning caps on each other’s head from a distance. It’s become our main way to pass time when there’s a little moment to kill on the road!”

There is so much to miss about Her’s but, rather than be sad, we can remember them for all they gave to the music world in their short careers. There is that body of stunning work, the live memories and, in years to come, one will hear other artists taking a lead from Her’s. They will be sorely missed but I feel like many artists should be more Her’s. Whether that is adding more fun and excitement to music or being more interactive at gigs...here was a band who ticked every box and were primed for big things. We mourn their passing but we also thank this incredible band who gave the world...

SO much love and brilliance.

TRACK REVIEW: Death of the Maiden - His House

TRACK REVIEW:

 

Death of the Maiden

His House

9.3/10

The track, His House, is available via:

https://deathofthemaiden.bandcamp.com/track/his-house

ORIGIN:

Oxford, U.K.

GENRES:

Post-Punk/Baroque-Pop

The album, The Girl with the Secret Fire, is available via:

https://open.spotify.com/album/4PVYrJPwDGvCP59LMZcYcp?si=wSRHHsbTR9mbI4PfhBttrg

RELEASE DATE:

29th March, 2019

Produced by Tamara Parsons-Baker and Richard Neuberg 
Mixed and Engineered by Richard Neuberg 
Mastered by Tim Turan 
Album Artwork by Millie Rawicz @millierawicz 
Recorded at Strawhouse, Oxford (www.strawhousestudios.com) 
All songs written by Tamara Parsons-Baker; lyrics for The Walls are Wider and The Love of Phlebas were taken from poems written by Henry Stead

__________

ON this outing...

I wanted to address a few things before I come to look at Death of the Maiden. I will discuss Post-Punk sounds and why there is a definite need for something more explosive in modern music; a little concerning female bands and, again, why they are being under-represented right now; greater visibility and awareness of difference and diversity; variety in music and how songs can grip the imagination – I will address why we need embrace bands like Death of the Maiden. The clocks have just gone forward and my brain is adjusting slightly to that. Waking up this morning, I was readying myself to write about various aspects of music – I have a list that I get through at the weekend – but my thoughts have changed. Although Death of the Maiden have a varied palette and eclectic sound, there is a directness and sense of physicality about their music that gets under the skin. Maybe they are not quite as intense as IDLES or Slaves but, in fact, there is more depth and emotion. They mix Post-Punk, gothic sounds and Pop together to create this sumptuous, dream-like music that takes you somewhere special. Although the sound is less accelerated than a lot of the Post-Punk bands around, their words are what stand out in that sense. There is an immediacy and sense of passion in the songs that swims in the blood. I have heard a lot of bands sacrifice depth and meaning for sheer energy and noise. That is not the case with Death of the Maiden. Tamara Parsons-Baker has spent a few years setting herself up as one of Oxford’s best artists and voices. Having seen off the competition and climbed up the ladder, she set up the band with Emma Coombs (drums), Jenny and Hannah Bruce (on guitar) and, together, they are Death of the Maiden. The Girl with the Secret Fire is an album that boasts the band’s chemistry and core strengths and showcases a wealth of textures.

In a good way, it is hard to describe Death of the Maiden and drilling down to their essence. One thinks about genres like Post-Punk and Baroque-Pop and gets their own impressions. Maybe we feel it is going to be morbid or snarling; too violent or gloomy. That would be short-sighted because, as Death of the Maiden show, there is much more power and resonance when it comes to being subtle and wider-reaching. You unpick their music and it is crammed with scenery, colour and imagination. I said how it is important we promote something physical and intense but, in fact, Death of the Maiden project that in the soul; a more subtle revelation that we need to see more of. I have argued how important it is we encourage range in music and I do think the most interesting stuff is happening away from the mainstream. I am not saying the biggest acts are boring but I do think there is a tendency to fit into some sort of groove and preconceived slot. You sort of wade through everything out there and it can be hard to decipher what actually has any meaning. There are a few bigger acts I really love but most of the more interesting material is coming from the underground. Maybe it is the lack of commercial pressure or the fact the current generation are shaping up to change things. I am seeing more and more artists genres and experiment with sound. I do think a lot of what is in the mainstream appears pretty narrow and flavourless but, with the best of the rising crop, we are seeing a true blossom and feast. Death of the Maiden explore the rawness of Punk and the sense of spirituality one gets with Baroque-Pop. I shall move onto another theme because I want to tackle something that has been on my mind. I do wonder whether some of the problems we see in the wider music world will change and we will see balance.

Whether Death of the Maiden see themselves as a female band or would prefer a gender-fluid label, there is no denying that, compared to some bands, they will struggle for festival bookings. I brought this up yesterday when discussing Glastonbury and its lack of female headliners but, moving forward, I do wonder whether discrimination is just with gender. There is a surge of feminism and need for equality but it is not being met with acclaim and respect by the industry. Many are fighting for parity at festivals and throughout music but I do feel like those in power have been lacking. Look at a group like Death of the Maiden and you have a solid and exciting band that have the promise to last for many years to come. I see so many male bands being given top spots at festivals and made cover stars but what of the female artists? They are, in my mind, producing the best music around and this is not being translated into acclaim and attention. What gets to me is the fact music is a meritocracy and that means the best music should be celebrated. Why is it that, in 2019, we still have the battle sexism and the ignorance of the music industry?! I do find it shocking that bands such as Death of the Maiden might be overlooked because of their gender. They have the promise to be a big deal and will get there soon enough but I do feel like many will hold them back because they are women. I have seen bands like them take longer to get to the top because festivals still have this problem booking women. That might sound gloomy but I know they will get where they need to get to. It might be a while longer until they are at Glastonbury but I do think the industry needs to open its eyes and mind when it comes to talent and not being so blind. If it was more gender-blind and actually judged artists upon their sounds then that would be a lot better.

Tamara Parsons-Baker, when emailing me, stated that Death of the Maiden are trying to be visible women, queers and those who fight for greater rights. I have been seeing a lot of discussion on social media and, whether it is relevant to this point, how many schools are uneasy regarding lessons around L.G.B.T.Q.I.A. issues. It seems that there is still uneasiness when it comes to aspects away from a heteronormative spectrum. Maybe this might not directly relate to music but I think it is important to raise the point. I feel like there is a real uncomfortableness when it comes to talking about sexuality. If bands like Death of the Maiden are determined to create visibility in that respect, is society as a whole going to match that? I find that there are many who feel it is wrong to teach lessons about L.G.B.T.Q.I.A. subjects in schools and it is not fair to foist that onto children. Parents think that it is wrong to instil these lessons at a young age and schools should not stray from more ‘traditional’ subjects regarding sex and gender. I do feel like it is rather absurd we have to have this argument because times have moved on and children need to be educated. It is wrong to ignore the sexual spectrum and, in essence, be discriminative. I am appalled that there is so much prejudice and stupidity today but I do wonder whether music is more open-eyed and aware. I have discussed sexuality in music before and how many L.G.B.T.Q.I.A. artists have to struggle. How easy is it for them to assimilate into the mainstream and discuss their sexuality in a very real and open way? I feel many people want music to be straight and white. They have this vision of normality that is denying passage to artists who just want to be themselves. Music is richer when it is expressive, opens its channels and does not judge artists at all.

Death of the Maiden are unafraid to be themselves but want to create greater awareness and discussion. I am still bothered by the lack of discussion regarding L.G.B.T.Q.I.A. artists and how, in the education system, the syllabus is quite rigid and coming under attack. I will skip to another subject soon but I felt it was worth raising because there are so many different sides to this band. I love what they are putting out and they have such strength. Their music grabs you and sucks you into this imaginative and special world. Sonically, they are exciting and compelling but, as people, there is another side to them. The sense of liberation and being who you are, this is what Death of the Maiden are all about. How far has the industry come since, say, the 1950s? Certainty, sounds have evolved and we are much broader than then but I do think attitudes have not changed. In terms of sexuality and gender, have we moved on at all? I do think that there needs to be more discussion and artists need to be judged on talent and not excluded on the basis of sexuality and gender. Discrimination extends to race, too, so music has a lot of problems that need tackling. When it comes down to it, we need to assess all artists on their potential and talent and strip everything away. Death of the Maiden would not necessarily label themselves as women or see themselves in rather limited terms. They are a fantastic band who warrant acclaim because of their talent and drive. The Girl with the Secret Fire is packed with great music and standout moments. I do hope that this quality and determination leads them to some wonderful places! I will end the review by talking about the band’s touring and potential but things are looking great right now. Reviews are already coming in for their album and there is an awful lot of positivity around them. It is their multifarious and vivid palette that has engaged so many minds.

One listens to songs on their record and there is dreaminess sitting alongside passion. Whether it is a striding piano line or something rawer, there is no denying Death of the Maiden are a rounded and exciting band. I do love how each song has a personality of its own and the band are not beholden to a singular sound. You hear what they are putting out and immerse yourself in the music. There is a subtlety to the playing and performances that mean songs are never too forced or pushy. That is not to say, too, the music is too calm or detached. The band has concocted this great blend that tackles dreams and nightmares alongside pure emotions and a sense of fantasy. In fact, some commentators have stated how Tamara Parsons-Baker is getting something off her chest in the music. There have been striking nightmares that have affected her. Rather than throw these ideas away, she brings them to the music and lets the listeners into her mind. I do think so much of music is based around relationships and matters of the heart and musicians do not really stray too far from that template. Music is at its most promising, enriching and engrossing when more of the artist goes into the music. There is great imagination in the work of Death of the Maiden and this is something others should follow. It is the sonic nimbleness and beauty that one finds that perfectly captures the soul. There is nothing too heavy and dark or anything that is too slight. One can be a fan of Baroque-Pop or Post-Punk and there are no borders at all. Indeed, Death of the Maiden have created an album that will appeal to music lovers of all shapes and sizes. From a purely aesthetic and sonic viewpoint, I can approach Death of the Maiden and find much to enjoy. Every song has its own story and skin and you keep coming back time and time again. One is affected by the compositions and vocals but you also gravitate towards the lyrics. They are never generic and too personal and, instead, there is a richness that sparks every corner of the mind. It is hard to put into words but you need to listen to the music to see what I mean.

Before I come to reviewing one of The Girl with the Secret Fire’s songs, His House, I wanted to stay with this theme of diversity. Like the band’s championing of gender and sex; the need to be seen and how hard it is to fit into a music industry that has this rigid ideal of what one should be, they are not slavish to sounds that are limited and commercial. I am seeing, as I said, many artists in the underground doing great work and Death of the Maiden should be highlighted because of their compositional talents. There is delicate piano and something romantic; militaristic percussion and rousing backdrops – sometimes all within the same song! I do find many artists lack a sophistication and depth but, with Death of the Maiden, every song has multiple layers and angles. The vocal is always at the centre but that is not to say the rest of the band is secondary. Instead, there is a connection and chemistry that infuses them all together and creates this harmony. We need to celebrate bands like Death of the Maiden because they have that special spark and edge. Their music rewards those who take time to digest and experience everything at its fullest. There are personal revelations and dreams being exposed but one never feels excluded or uncomfortable listening to something quite soul-baring. I hope I have not put people off listening to Death of the Maiden with my rambling and detail – I was determined to include them and get their music heard. They are already gathering acclaim but I feel like their future will be very promising. I do feel like a lot of artists who write quite simply and without passion are getting ahead of those who are more intelligent and different. This takes me back to my point regarding equality and acceptance in music and the wider society. It is important I get around to His House and study a song that has a great deal of quality. It is one of the standouts from The Girl with the Secret Fire; an album that is brimming with brilliant moments.

Opening with delicate strings that start to skip and create this wave, our heroine comes to the microphone with her voice ringing clear. The voice is very high in the mix which means that we feel the full force of the emotions playing out. Other songs on The Girl with the Secret Fire burn brighter in terms of compositional weight and instrumentation: the simplicity of the music allows the vocal to explore more but there is still great weight and potency. In fact, the acoustic guitar has this story of its own and I listened to His House a few times and found new stories and revelations coming through. It seems like there is this drama and sadness. Our lead seems to be in a space with stained windows – maybe a church or somewhere else – and her eyes are stained. We come into this house – whether emotional or literal – and hear about the roof coming in and things starting to crumble. The heroine’s hands used to be joined with another and there was this unity that kept her comfortable and safe. Now, it seems like this secure spot and location is being battered by the weather and slipping away. It may sound quite heavy and emotional but, in fact, there is a lot of beauty and tenderness. The vocal has a lot of passion and sadness but there is a sense of hope and focus that keeps it from sounding drained and lost. Backed by these spirited strings, we concentrate on this very evocative scene that seems to represent the heart starting to lose a beat; stability lacking and something transformative happening. This man begged and willed us (whether there is someone with the heroine or just the two of them) to take things outside. Just then, there is a surge of electricity and a new layer coming into the song. There is this sort of nodding to the spectral and religious throughout the song. I get the sense that, at the core, a relationship is being assessed but it almost like His House is a hymn; a prayer or something spiritual.

One cannot escape the transcendent nature of the song and how it makes one feel. Everyone will have their own view regarding the song and its true origins. I feel like some bond has been broken but, in a wider sense, there is something wider being addressed. Parsons-Baker’s voice is clipped and has a distinct accent but it carries so much nimbleness and movement. There are very few singers who can sing as evocatively and purely as her and that is something to be proud of. We see the heroine losing her feet and way; a sense of being directionless or looking for stability. We have this mix of the oblique and direct that takes your thoughts in different directions. The chorus talks about his house as being somewhere secure against the lashes of the storm. Again, whether it is a trusted friends/sweetheart or a church that is keeping the heroine guarded from the outside, I am not so sure. The chorus is powerful and everyone will have their opinions regarding the story and truth. Great songs get you thinking and leave a bit of mystery in the mind. With a voice that rises and summons great power but is also capable of being softer and tenderer, it is a masterful performance. Even if the lyrics become bleak and quite haunted – bones being picked; graves dug and visions of death – one does not necessarily view things literally. Maybe the heroine wants to escape a hard situation and suppression but I think there is a greater need to be rid of a burden and strain. Death of the Maiden are brilliant when it comes to matching darker lyrics with spirited and gorgeous music. It is this blend that makes His House such a memorable song. Our heroine is in the chapel and listening to this song that remains. I do wonder, at every stage, whether the song is a spiritual awakening or something dream-like. It is a powerful offering so one will have their own thoughts regarding its history. There is a mix of grand themes such as God speaking and spiritual reckoning and the more intimate. The heroine has clung onto this raft in an ocean; there have been challenges and you do wonder whether things improved. However one sees it, His House is a remarkable song that will be hard to forget. Each listener will have their own take and visions when it comes to the song. I hope my words got close to the truth of His House but perhaps it is best not knowing everything – keeping a sense of mystery and enigma.

I have talked a lot about Death of the Maiden and how they have progressed. They are a relatively new bands but that is not to say they lack experience and promise. Instead, they have an instant sense of confidence and comfort that suggests they are where they need to be and want to remain for a very long time. There are some great bands coming along right now and I do feel like the scales will tip from the dominance of solo artists to bands. What gets to me is how quality seems to take a backseat to something populist or commercial. I have talked a lot about festivals and their rigidness so I shall leave that be. What I do want to say is that people should judge bands like Death of the Maiden on their musical merit and the fact they are doing something fresh. Check out their social media pages for upcoming dates but the band will be playing at The Finsbury on 12th April. It is worth seeing them in these venues but I feel like larger spaces await them very soon. Death of the Maiden are not purely about the music. They want to give a voice to everyone and stand out in a challenging music industry. It is hard enough being a woman in music and the band know this. I have discussed how festivals tend to overlook women but Death of the Maiden should not fear that. Already, they have proven themselves and created an album that is crammed with delight. The Girl with the Secret Fire is a stunning album that contains ten songs that will stay in your mind for a very long time. It is hard to drill down to the essence of the album and why it is so special. Maybe it is the interplay between the band members of the fact the music is so beautiful and pure.

I love all the different things happening throughout and the fact one can escape in the album. I predict big things for Death of the Maiden and think they have a bright future. It is tough out there but I do not feel the Oxford-based group need to fear anything. I hope I have covered everything and explained myself well enough. It is exciting discovering a band that hit the heart and impress right away. There is so much out there right now and it is always hard to decipher the great from the average. I love Death of the Maiden and know that they will go far. With more tour dates and stage exposure, they will get to more people and attract the attention of radio stations and promoters. I know their music will resonate with a range of stations and who will bet against Death of the Maiden going international and playing big gigs. They have a determination and quality that is hard to fake and ignore. I have stated how it is early still but I think that, in a year or two, they will get to festivals and be playing some really great gigs. They clearly love what they are doing and this funnels into the music. Let me wrap things up now because I am aware I have talked a bit too much. Make sure you investigate Death of the Maiden and follow their progress. They are busy promoting their music right now and, with a great album out, many people will be experiencing them for the first time. In a world where there is a lot of the same thing being played, it is nice discovering an act that are unique and capture you straight away. One can listen to their music and feel better and, in these tough times, that is what we need. They go even further than that and can open your mind and make you think. Albums and artists that challenge the imagination and enrich you should be promoted above that which is straightforward and radio-friendly. I will leave things there but make sure you see Death of the Maiden play; follow them across social media and check out their album on Spotify. If you can, give them some pennies and throw some love their way. Things might just be getting underway but we will see a lot more from this band. They are truly...

A force to be reckoned with.

___________

Follow Death of the Maiden

Twitter:

https://twitter.com/d_o_t_m

Facebook:

https://www.facebook.com/Deathofthemaiden/

Spotify:

https://open.spotify.com/artist/4unq3Q3yF7ZvynBlPq28am?si=m09KSyOdTjej5NH4Oy2OQw

Instagram:

https://www.instagram.com/deathofthemaiden/

Bandcamp:

https://deathofthemaiden.bandcamp.com/

PHOTOS:

Helen Messenger

FEATURE: Labelled with Love: Rough Trade Records

FEATURE:

 

 

Labelled with Love

IMAGE CREDIT: Rough Trade Records

Rough Trade Records

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MAYBE this will not flourish into a proper series...

 PHOTO CREDIT: Rough Trade Records/Getty Images

but it occurs that we listen to great music and celebrate the artists without recognising the labels behind them. There are lots of cogs in the music machine but the label itself is essential. Right around the world, there are so many great labels springing up. It is possible to set up your own one and create your own ethos and, with some planning and pragmatism, you can enter the market. I know a few people who want to set up a label because they perceive a gap in the market and are keen to have their own roster of artists. It is exciting that there are boutique labels and the giants working alongside one another. In other editions, I might include giants like Island Records but, in this opening part, I was keen to celebrate Rough Trade Records. I shall come to the new breed they represent and some more established acts with the label but, looking at how they started and how they have grown, it is clear that Rough Trade Records has made a huge impact to the music world. I shall let them tell the story:

“Rough Trade Records is a legendary independent record label and a benchmark and inspiration to many in the field. Rough Trade was at the epicentre of the punk explosion right at the start and since then has gone on to release a catalogue that almost defines the genre of independent music itself. Seminal releases litter the back catalogue, from early punk classics to era defining releases by The Smiths and The Strokes. Over the years Rough Trade Records has released an undeniable stream of quality releases by some of the most talented, gifted and unique musicians of our generation.

The label grew out of the Rough Trade Record Shop which opened in February 1976 in Ladbroke Grove, which was inspired by the City Lights Bookstore in San Francisco, where visitors were encouraged to hang out in the store as much as buy books. Within a year the Rough Trade Shop had become a hub for the burgeoning DIY and punk culture and was the point of contact for a whole host of groups and labels. Releases by The Fall, Scritti Politti, Robert Wyatt, Aztec Camera, Augustus Pablo, early electronic music pioneers such as Cabaret Voltaire as well as The Raincoats, Swell Maps, Go Betweens and The Smiths, amongst many many more followed. In fact, the past 38 years has seen Rough Trade Records become synonymous with high quality, imaginative, musically diverse and innovative independent music.

In 1999, a few years after the collapse of an ambitious Rough Trade distribution arm, Geoff Travis resurrected the label in partnership with Jeannette Lee with whom he'd worked since 1987. Seminal releases by The Strokes, The Libertines, Sufjan Stevens, Antony & The Johnsons, The Hold Steady, Arcade Fire, The Decemberists and British Sea Power to name but a few quickly followed.

Still based in the Ladbroke Grove area of West London where it all started, Rough Trade Records now has offices in London and New York and Geoff and Jeannette continue to work towards helping the music they love get the exposure they think it deserves and to facilitate the artists' growth. With releases by Alabama Shakes, Anohni, Warpaint, Goat Girl, Josienne Clarke & Ben Walker, Sleaford Mods, Parquet Courts, Emiliana Torrini, and Dean Blunt either out now or on the near horizon, the future continues to look exciting, and to push musical boundaries at Rough Trade”.

 IN THIS PHOTO: Scritti Politti/PHOTO CREDIT: Rough Trade Records/Getty Images

I definitely recommend you check out their online store because there are some great records and merchandise to be found. Through the years, artists on the Rough Trade Records roster have included The Fall, Arcade Fire and Mazzy Star. The label has such a huge reputation and it continues to grow and evolve. With the new blood including the likes of Honey Hahs and SOAK, it seems like the label is in very good hands. Rough Trade Records has always been diverse and not restricted when it comes to sounds and feel. Look at the long list of past artists who have passed through their doors and the contrast of now: Princess Nokia and Scritti Politti alongside Goat Girl and ANOHNI. It is an insane and quality-driven label that appeals to those who loves music’s variety and depth. Look at some of the bigger labels and they are full of chart acts and Pop artists but not here. Rough Trade Records has that quality and wonderful foundation that attracts the finest names. Based on 66 Goldborne Rd., W10, Rough Trade Records continues to thrive and inspire. I love artists such as Amyl and The Sniffers and you can catch where various Rough Trade Records acts are playing around the world. I love the fact that, despite Rough Trade Records being represented around the world, it still has a base in West London.

 IN THIS PHOTO: Honey Hahs/PHOTO CREDIT: Rough Trade Records/Getty Images

The survival and terrific music from the label means that this fact will not change and who knows where they can head in the coming years?! For over forty years, the label has been changing music as we know it. Back in 2006, The Independent, when celebrating Rough Trade’s thirtieth anniversary, showed how it grew from its humble beginnings:

“Rough Trade, the record label, grew out of the retail and distribution operation, but it was quickly hived off. Under the management of (Geoff)Travis, it became a completely separate business entity, albeit trading rather confusingly under the same name.

Among the label's early releases were landmark records by the likes of Scritti Politti, Robert Wyatt, The Fall, Pere Ubu, The Raincoats and Stiff Little Fingers. Travis discovered and nurtured The Smiths, whom he signed for the princely sum of £4,000, and the label has continued to break the musical mould and achieve commercial success in the 21st century with left-field acts such as The Libertines, The Strokes, and Antony and the Johnsons, who won the Nationwide Mercury Prize in 2005.

In an extraordinary closing of the circle, the new album by Scritti Politti, White Bread Black Beer, finds the group led by Green Gartside and back in the Rough Trade fold after an absence of some 23 years. Not only that, but the album was shortlisted for this year's Mercury Prize, and Travis was at the Mercury reception earlier this week with his business partner, Jeannette Lee, who has shared the running of the Rough Trade label with Travis since 1987.

IN THIS PHOTO: Rough Trade Records founder Geoff Travis/PHOTO CREDIT: Getty Images 

Sitting on the floor in a VIP reception area, drinking champagne, the pair reflected on a career that has combined unpredictable highs with some daunting lows.

"It's hard to be a maverick independent and to survive, let alone to do so for this long," Travis says. "We didn't have any professional knowledge of the business, and that was the beauty of it. We just wanted to do things our own way. We won an award in 1984/85 for the best marketing campaign of the year for The Smiths. But we didn't even know what the word 'marketing' meant. So obviously we were doing something right”.

Not only has Rough Trade Records grown and continues to reflect the best of modern music, it has stores around the world. Back in 2013, The Guardian reflected on the growth and how one can see the Rough Trade name around the globe:              

“Rough Trade operated a second branch in Covent Garden for almost 20 years but branches in Tokyo, San Francisco and Paris all closed. The failure of the Paris outlet a decade ago brought the whole company within days of collapse before new backers saved the business and funded the second store's move to a converted brewery on Brick Lane.

Rough Trade East's launch six years ago sounded a rare note of optimism at a time when rising rents, declining demand for most physical formats and competition from online retailers had left many British towns without a single independent record shop. HMV, which survived by the skin of its teeth this year, is the last of the high street chains.

Rough Trade accepted it couldn't compete with online retailers on price and chose to emphasise the social aspect of record-shopping, from in-store performances to expert recommendations. Unlike the big chains, each branch is free to experiment and take risks. "There are people who would rather go to Rough Trade on a Saturday and spend £10.99 instead of £8.99 on Amazon," says Nigel House. "It's fun going shopping. I just want a record shop I'd be happy in."

Pundits have been predicting the death of the record shop for years, yet many of the best endure and, in the case of Rough Trade, even expand, helped by the resurgence in vinyl sales and international events such as the annual Record Store Day, which celebrates the independent sector. Even though the internet means music fans no longer need to visit a shop, it seems many still want to.

Thirty years after cutting his ties with the shop, Geoff Travis has rejoined the business as a shareholder in the Brooklyn branch. "I'm convinced people don't want to spend all their lives in front of the computer," he says. "It's important to walk in off the street and take the plunge and discover a new world. Record-buying people can be very antisocial so I think it's good for them to find themselves in a social space sometimes".

IN THIS PHOTO: Benjamin Booker/PHOTO CREDIT: Rough Trade Records/Getty Images

I will end with a playlist that collates and unites all the artists currently on Rough Trade Records. I predict that, in decades from now, we will still be celebrating this musical giant: a label with a great ethos and a brilliant reputation. I find a lot of the biggest labels so soulless and vast that it is hard to see whether the artists are seen as numbers of individuals. You know, despite its growth, there is this familial aspect to Rough Trade Records that continues to attract the best artists around. They have been through some ups and downs but it seems like everything is on the rise for Rough Trade Records. Let’s all cross out fingers and hope that this...

CONTINUES for a very long time to come.

_____________

Follow Rough Trade Records:

IN THIS PHOTO: SOAK/PHOTO CREDIT: Rough Trade Records/Getty Images 

Official:

http://www.roughtraderecords.com/

Facebook:

https://www.facebook.com/roughtraderecords

Twitter:

https://twitter.com/RoughTradeRecs

YouTube:

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

Instagram:

https://www.instagram.com/roughtraderecords/

Spotify:

https://open.spotify.com/user/roughtraderecordsuk

FEATURE: Fighting Against the Old Order: What Is Holding Back the Rise of Female Headliners?

FEATURE:

 

 

Fighting Against the Old Order

IN THIS PHOTO: Janet Jackson (who is one of the names who will play this year’s Glastonbury Festival, but not as a headliner)/PHOTO CREDIT: Live Nation 

What Is Holding Back the Rise of Female Headliners?

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EVERY time a big festival like Glastonbury announces...

 IMAGE CREDIT: @GlastoFest

its headliners, there is the sad inevitability that they will be dominated by men. Many have said that, because a few festivals have booked one woman/female act to headline, that is a sign of progress and understanding. Given the fact that the vast majority of festival headliners are men means there is no progress at all. There is this pledge to get festivals gender-equal by 2022 and, as I have stated in other pieces, that seems impossible. Maybe the festival bill is a bit more varied and equal but, even when you inspect all festivals’ posters, there are not many who are fifty-fifty. That seems insane because we are not even talking about headliners – how hard is it making sure that, below the headliners, you are gender-balanced?! It would not even be pandering and ticking boxes because of all the insane female talent around. I keep saying how the best music of the year is being made by women. Lucy Rose and Billie Eilish have just put out incredible albums and they sit alongside Julia Jacklin and Self Esteem when it comes to the titanic hits of 2019. Compare that to the men and I think there is a positive imbalance in favour of the women. A lot of the most promising acts around are either female or female-led. Whether it is an Indie/Post-Punk band or a great solo act, the variety and intention is definitely out there.

 IN THIS PHOTO: Glastonbury co-organiser Emily Eavis/PHOTO CREDIT: Jason Bryant

Emily Eavis has spoken about her frustration regarding male headliners and how she has pushed to get more women on the bill. As this article in The Independent shows, Eavis is fighting and keen to make changes but there seems to be this resistance:

 “The organiser of Glastonbury Festival, Emily Eavis, has described the male-dominated booking culture at the event as "impenetrable".

Eavis, daughter of festival founder Michael Eavis, said she faced an "old guard" of men in charge of booking artists for the festival.

Speaking to BBC Radio 1 host Annie Mac, Eavis revealed how some colleagues had labelled her a "real hassle", but she remained determined to promote female artists, book female headliners and introduce more women into the team.

"It's so annoying. But if you want to make progress you just have to do it, and you have to be up for being a bit of an annoyance.

"Unfortunately, you have to make a massive jump the other way to make the tiniest bit of progress.

"That means me being really pushy with these people. It's the tiniest bit of progress. We are nowhere near where we need to be.

"We're making slow progress but there's a long way to go".

Although she wields a lot of power and can make some changes, it seems like she is facing a lot of ignorance. Glastonbury’s three headliners – Stormzy, The Killers and The Cure – are not the most exciting and I feel that The Killers could easily have been replaced by someone else. Consider the fact Janet Jackson cheekily promoted herself to a headline slot in a mocked-up Glastonbury images and that makes me wonder why she was not considered for headliner?!

 IN THIS PHOTO: The Killers are one of the three headline acts for this year’s Glastonbury/PHOTO CREDIT: Ed Miles/NME

Is it the case that Eavis was butting up against those who wanted an all-male band and something reliable? Jackson would make a perfect headliner but there is very little faith in the great women around. There was more coverage of Eavis’ angers in this BBC piece:

“Although Adele and Beyonce have both headlined the festival in recent years, this year's main acts are all male - Stormzy, The Killers and The Cure.

Eavis said she wanted to put a woman at the top of the bill, "but the pool isn't big enough".

"It's time to nurture female talent. Everyone wants it, everyone's hungry for women, but they're just not there."

There is also a shortage of new male headliners coming through the ranks, she added.

"It's that final jump. It's hard to make the leap to that level."

More than 60 acts have been announced for this year's Glastonbury - with Kylie Minogue, Janet Jackson, Miley Cyrus, Billie Eilish and Lauryn Hill among the high-profiled female artists.

The festival is expected to announce the rest of the bill shortly before it opens its gates in June.

Eavis, who co-organises Glastonbury with her father, Michael, was speaking at an event staged by BBC Radio 1's Annie Mac in London.

With husband Nick Dewey, Eavis is responsible for booking all of the festival's main stages”.

With the likes of Lauryn Hill and Janet Jackson among the most exciting festival names this year, they both could have made for mouth-watering headliners. I wonder whether they were approached and whether it was felt they were not strong enough.

 IN THIS PHOTO: Kylie Minogue will play Glastonbury’s ‘legends’ stage but she is an example of a female artist who is worthy of headline status/PHOTO CREDIT: Kylie Minogue

Eavis has stated how there is not a deep enough pool when it comes to headline-worthy females; a lack of new artists who would make headliners and this dominance by men. Although Glastonbury has almost created a fifty-fifty gender split, I do think that one female headliner was in order. There is no shortage of talent in the poor when it comes to established acts. Beyoncé has headlined before and I keep name-checking St. Vincent. There is an exciting new breed of Pop artists who are ready to step up but the fact that big names like Janet Jackson and Kylie Minogue have been overlooked in favour of The Killers and Stormzy shows there is a problem with sexism and ignorance rather than quality. I argue that there is a lack of talent who can bring the crowds in because other festivals have booked women as headliners – why is Glastonbury not able to secure one?! It is the biggest festival in the country and anyone can rattle off a dozen classic artists who could do the job. Look at the best and most exciting albums of 2018 and 2019 and there are plenty of women making modern music so exciting. I know Emily Eavis is doing her best to secure female artists at the top but one feels like the calls are not going to the right people. How many women were approached to headline? You would not get a ‘no’ from all of them so it makes me wonder whether there was any consideration regarding equality when it came to the shortlist this year.

 IN THIS PHOTO: Fleetwood Mac/PHOTO CREDIT: Getty Images/Press

Fleetwood Mac were mooted as headliners and, whilst the majority of the members are men, there are two female voices in the band – Christine McVie and Stevie Nicks. Events like the 6 Music Festival have booked names like Anna Calvi and Julia Jacklin on their bill. Maybe these artists are not quite big enough to headline Glastonbury yet but Emily Eavis intimated there were not enough new women coming through who could headline – bot the names I have just mentioned are very close to being headline-ready. Look at other festivals around the world and we can see big names like Solange (Primavera Sound) being booked to headline. She would have been great at Glastonbury and you could toss established names like Lady Gaga, Diana Ross or Annie Lennox. How about Björk?! All of those names are more exciting than The Killers so I do not feel like Glastonbury has any excuse when it comes to a lack of pull and talent. There are women, classic and new, who could beef out the bill and make it a lot more balanced. Any line of defense that asks to buy into the notion there are relatively few women ready to headline is ridiculous. I think, more likely, it is people like Emily Eavis getting less say and decision-making lure than the men. I suspected Glastonbury would disappoint regarding its headliners and gender but it is wrong to say there are few women ready to take to the Pyramid Stage and wow.

 IMAGE CREDIT: @BBC6Music

I keep mentioning St. Vincent and others like Florence + The Machine and it is strange that they were overlooked. The fact is that I, and many others, have listed a whole host of great female artists who should be winning headline slots but are being ignored. I do hope Emily Eavis is able to permeate the ignorance around her and, at next year’s Glastonbury ensure that there is at least one female headliner – there is a vast list of names that discredit the idea that there is a lack of great female action in the pool of music. Eavis made a point regarding the men in music; the bosses and organisers who are responsible for bringing together the festival headliners. The notion of the middle-aged man playing golf and turning their noses up at women is, sadly, still evident. There are younger festival organisers emerging but most of the larger festivals still have the slightly older gent making the decisions. It is not just Glastonbury who are behind and have no excuses to hide behind. Look at all the festivals in the U.K. and none of them are doing enough. It is not only the fact they are booking men as headliners and completely overlooking all the ready and established women who can storm it. It is the boredom factor and the lack of excitement that gets to me. Whether it is Reading and Leeds or the Isle of Wight Fest, there is really not a lot to get excited about!

 IMAGE CREDIT: @OfficialRandL

I know there is a huge wave of great women in music that are defining the best of modern music so, in a few years, there really is no reason why they should be ignored. I am uncomfortable when it comes to that statement regarding a lack of women out there to headline. The fact is that it is the men who can make the change are refusing to budge and are going for the same, tired names. There is a problem with gender imbalance at U.S. festivals and there are articles like this that show the problem is not new: we have been ignoring women for years now. The demographic is shifting and it is no longer true that men rule the mainstream – maybe that was true back in the 1980s and 1990s. I think, in terms of control, there is more balance than ever and, as this feature outlines, there are so many great women who are not getting the attention they deserve. For years and years, people have been debating why there is this male dominance and when things are going to change. There are very few women who are responsible for booking festival names so maybe it is hard to fight against the men. Emily Eavis has the chance to change the system from within but it seems like she has to combat the old guard and an unwillingness to bend. The music industry, right now, has so many fantastic women in all genres and there are countless icons and established artists who would make perfect headliners at festivals like Glastonbury. There are no excuses and reasons to avoid the problem at hand. There is this promise we will see true balance by 2022 but the fact is that we need it...

 PHOTO CREDIT: @dannyhowe/Unsplash

MUCH sooner than that.

INTERVIEW: Lady Jane’s Revenge

INTERVIEW:

Lady Jane’s Revenge

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IN a change of sonic direction...

the raw and heavy Lady Jane’s Revenge have been talking about their new cut, Pure, and what it concerns. I ask how the band formed and the music that inspires them – I discover whether there are tour dates coming and where we can catch them.

I was curious to know whether the guys had favourite albums and if they have time to chill; who they’d support on tour if they could and whether there is more material coming along later in the year – they each select a great song to end the interview with.

____________

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

Hello! We have been very well; very busy too as the new video for our single, Pure, just released last night so we have had messages and emails galore in return (which is very exciting).

The band, work; uni and children keep us very tired indeed. Haha. Shout-out to our loving partners who are the real superheroes to us!

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

We are a Rock/Alternative band from South-West U.K. For fans of The Used, Incubus; Faith No More. We feel we are unique and refreshing for our genre because we incorporate each of our different favoured styles and create something unexpected with each song. Our vocalist has an unusual voice for Rock due to growing up in inner-city London surrounded by many wonderful cultures. If you want motivation and a real look at the world then check us out on your fave music platforms.

Pure is your new single. Can you reveal the story behind it?

The message is one that tries to invoke the memory into the listener, of a time when they were young; free of judgement and behaviours against ‘different’; therefore reminding them also with the chorus, that we have opinions and views forced upon us by elders in our lives and mass media propaganda. We just wanna help keep pushing an open-minded and morally-good existence which, fortunately, in recent times has grown magnificently towards gender, race; species and beyond.

You know...”Unite! Not separate”.

In terms of artists, do you take inspiration from particular bands/corners?

Oh. We are an amalgamation of various inspirations. Haha. Vocally, Billy grew up on Motown, Soul; ’60s/’70s and Country music before discovering Michael Jackson - so a lot of his melodies come from those wonderful catchy, poppy vocal runs and harmonies that really delivered songs from that era. Sam, our guitarist, is absolutely mad for the true six-string icons: your usual Clapton, Page; Slash and Tremonti types, whereas our bassist James also takes influences from the technique of the Sabbaths and other originals...but he finger-picks with an added bounce and energy that the good feels of R.H.C.P. (Red Hot Chili Peppers) and Blink-182 do simply with an extra big smile on their face.

We are still learning about Adam, our new second guitarist, and our drummer, Ash, is a heavy hitter emulating the groove and power of Vinnie Paul and the amazing groove bands that followed: Pantera, Korn; Limp Bizkit etc...

How did Lady Jane’s Revenge form and find one another?

We first connected via an advert post Ash (drums) created on a musicians’ website (joinmyband.co.uk) at the very tail-end of 2014. Billy (vocals) had been tracking the opportunities on there while working solo on YouTube covers and he approached him. The two hit it off very well over the phone and continued to do so upon meeting up in person.

They then sought out a guitarist and recruited an online friend, Lorna, to be the focal main vocalist and keyboard player. Within two weeks, Sam had contacted the three and they all arranged a jam practice mid-February 2015.

Things were going well but, unfortunately, coinciding with the time James had arrived to join on bass in April; we had to make the sad decision to let Lorna go due to other instances. We then adjusted our sound and proceeded to record as a four-piece. That is until Adam added to our line-up in mid-2018: he originally was a fan of the band and we had spoken with him at shows or bumped into him occasionally due to mutual friends. We always got on well with him so, naturally, he was our first port-of-call before auditions.

Thankfully, it worked out nicely.

 Might there be more material coming later in the year?

Yes. Our intention is to release three singles in 2019! Pure is the first - and we have a few demos in our back pocket that need to be recorded properly. In which order we will release, we are still unsure. We plan to record them A.S.A.P. and we have been jamming fantastic new ideas too. We just struggle to find the time to do it all quicker - perhaps a record label can help us go full-time? Wink, wink. Hahaha.

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

Hahaha. We have memories for everything in the past four years!

A favourite would have to be when we played Fuel in Cardiff (2017). We were unable to park the van near the venue after load-in. It was a busy Bank Holiday, so we had to put the van into a car park which stated a closing time that would be after our set...so the plan was for Sam to jump off stage after our set and go get the van out the car park. He really needed to change his contact lenses as his eyes were sore. Also, we thought nothing of it and mingled with the guests...until he returned, panicked that the car park was locked until 7 a.m. the next morning! We began to fret because we slept in the van and it had our belongings and we would need to load out all our backline of gear onto the street shortly, with nowhere to put it.

Massively, the venue was kind enough to arrange for us to pick up our gear the next afternoon when they reopened. Some friends of ours that had come to the show allowed us to stay at their house for the night. But they lived in The Valleys, fifty miles from the city, and we had ten minutes to reach the last train in time; so having to leave early and miss the headliners we were touring with...we bolted to Cardiff station and got our tickets as the train arrived. Fortunately, we made it on with just what we were wearing and travelled to Bargoed and spent the night.

Sam was fretting that he would receive a massive parking fine from the car park and ensured we left at the crack of dawn to get the first train back and remove the van before it got ticketed. We arrived at 7:20 a.m.; no ticket, luckily, and had do sit around the city until 2 p.m. when we could load up our gear from the venue and then race it in time for the next stop on the tour! Hahaha.

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

Adam: Holding on When Moving on - Dependence

Because it helped me release negative emotions after coming out of a long-term relationship.

James: Black Sabbath - Black Sabbath

Due to discovering them (and all of their wizardry) when a young teen learning the bass guitar.

Billy: Hybrid Theory - Linkin Park

I stumbled onto their song, Crawling, by accident while watching MTV and somehow was mesmerised by this style I had never heard before. I waited four hours for it to be shown again to see the name of the song and band as I’d missed reading it the first time. The next day, I had my friends sit and wait for it to show and we were all won over instantly; walked down to Virgin Megastore and bought the album immediately. I began my life in the Alternative scene from that day.

Ash: By the Way - Red Hot Chili Peppers

That entire album was pretty much my childhood on a C.D. I listened to it every day!

As you are Lady Jane’s Revenge, if you could choose a Jane to seek vengeance on someone, who would the Jane be and who would she be hunting down?

As we have used her name as a metaphor for our band name, it would have to be Lady Jane Grey and her revenge on King Edward VI and Lord Guildford Dudley for setting her up against her will; in a weird loophole that intentionally made her Queen in order to continue Edward’s religious theme of Catholicism in the U.K. and cut out his next-of-kin, Mary, a devout protestant. This treacherous fraud of law that Jane was forced into led to her being imprisoned and eventually beheaded as a pawn of the ‘system’.

It just seems fitting. Haha.

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

James: I would support Rise Against or Volbeat and my rider would be two pint-jugs of beer and a cigarette Cheech & Chong would be proud of, if you catch my drift. Hahaha.

Adam: Don Broco for me, with a bottle of single-barrel J.D. and a bag of large ice cubes!

Ash: I’ve been waiting for COLD to comeback and I’d love to support them! A jug of beer and chips on the side for me please.

Billy: I’d reckon Panic! at the Disco for me. To be able to be as huge as they are right now and still, technically, Alternative is a huge achievement. To play a show with them would be phenomenal. I like a good curry personally and I can’t operate without a proper cup of tea.

What advice would you give to new artists coming through?

Save, save and save up your money before starting a project and, of course, naturally during the band’s life. The expenses are huge! Rehearsals, travel to and from them; travels to shows (you don’t always get paid or earn enough), instruments and their upgrades over time.

Then, if you move onto in-ear monitoring and wireless packs, demoing; recording producer/studio, graphic designers and onto social media marketing; P.R. companies for exposure and booking agents. Quality over quantity with what you put out...and a desire to read as many blogs about managing a band as possible.

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

Plymouth: Fri, 19th April @ The Hub/Dbs

Glastonbury: Sun, 28th April @ XPO South-West

Bridgwater: Fri, 17th May @ The Cobblestones

Yeovil: Sat, 22nd June @ The Royal Marine

Northampton: Sat, 29th June @ Hop Fest

Bristol: Sat, 10th August @ The Stag & Hounds

Manchester: Sun, 11th August @ Jimmy’s Bar

Royal Cornwall Showground: Sat, 31st August @ Cornwall Tattoo Convention

St. Ives: Sun, 29th September @ The Guildhall

With more being confirmed, follow our events via Facebook or Bandsintown.

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

You would be greeted by lots of beards, dreads and long hair (laughs). We are all very sociable and approachable and we like to get the energy high once on stage. We pride ourselves on breaking the barrier between artist and audience, by getting into the crowd where we can in our set and bonding - usually Billy can be found climbing or jumping off something when in the moment. Haha.

 IN THIS PHOTO: Bathub Sailors/PHOTO CREDIT: Youthscreams

Are there any new artists you recommend we check out?

Bathtub Sailors for fans of Sublime. They have new music imminent. Follow them guys for sure. A New Hope from Newbury have something very special to release soon. They have music up right now for Pop-Punk lovers and so will our buddies in Fear the Atlantic. Punk Rock Black Anchors are taking over the South-West at the moment and for good reasons...alongside our mates in Last One Home. There’s a brilliant female-fronted Australian band in the vein of Paramore; pulling up roots big time named Yours Truly.

IN THIS PHOTO: Yours Truly/PHOTO CREDIT: Brooke Harley

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

Hmm. Not a lot really. Every day there are more things to work on or plan; responding to messages and emails, putting up post updates or trying to book shows. It is seriously full-on and extremely draining most of the time to be honest, especially added on top of our parental duties or regular jobs.

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).

James: Black Sabbath by the band...you’ve guessed it, Black Sabbath!

Ash: Hell Is Home by our friend and the headliner of that tour we had the parking mishap; ex-Judas Priest and Iced Earth vocalist, Tim ‘Ripper’ Owens from the Judas Priest (Demolition) album

Adam: Never in the Cards by Dependence

Billy: Forever Stuck in Our Youth by Set It Off

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Follow Lady Jane’s Revenge

Official:

http://www.ladyjanesrevenge.com/

Twitter:

https://twitter.com/LJRevenge

Facebook:

https://www.facebook.com/ladyjanesrevenge/

Spotify:

https://open.spotify.com/artist/2yLZqbaTllWrUpfjjqJ2qD?si=5QEvQuyEQASGyLEX9GMkgQ

Instagram:

https://www.instagram.com/ladyjanesrevenge/

YouTube:

https://www.youtube.com/channel/UCTRCP8uMyxC8BML0LU6KyQw

PHOTOS:

April Bishop 

FEATURE: The March Playlist: Vol. 5: A Dark Lullaby for a bad guy

FEATURE:

 

The March Playlist

IN THIS PHOTO: Sky Ferreira/PHOTO CREDIT: Cass Bird for New York Magazine 

Vol. 5: A Dark Lullaby for a bad guy

__________

THIS is one of those weeks noticeable…

 IN THIS PHOTO: Slaves/PHOTO CREDIT: Jenn Five/NME

for a few big songs/artists and a bit of a smattering elsewhere. It is not a huge week by any means but, with new music from Sky Ferreira and Billie Eilish out there, it is definitely interesting. It is curious seeing how Pop has changed and how artists like Eilish are changing things. Alongside them, there is music from Slaves, The Veronicas; Edwyn Collins and Izzy Bizu. I have been keeping my ears out and there is some big music coming along soon. As we see the temperature rise and spring truly settle, I am hearing a lot more great music come along – not sure whether there is a link between the conditions and the sounds coming out! Anyway…have a listen to this week’s fresh releases and I am sure there is something in there that will turn the head. Despite it being relatively quiet for new releases there is still enough in the pack…

IN THIS PHOTO: The Veronicas

TO kick the weekend off in fine style!  

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

__________

Sky Ferreira – Downhill Lullaby

Billie Eilish – bad guy

Edwyn Collins – Glasgow to London

The Veronicas – Think of Me

Slaves – Bugs

Floating Points (ft. Lauren Laverne) – Ah! Why, Because the Floating Sun

Izzy Bizu – Lights On

PHOTO CREDIT: WDZIEKONSKI

King Gizzard & The Lizard Wizard - Boogieman Sam

PHOTO CREDIT: Neil Krug

Cage the Elephant, Beck - Night Running

Feeder – Fear of Flying

Ciara – Thinkin Bout You

White Denim – So Emotional

Diplo – Bubble Up

YONAKA – Lose Our Heads

Amber-Simone – Workin’

P!nk – Hustle

Gabrielle Aplin – Nothing Really Matters

Saweetie – My Type

ROSALÍA, J Balvin – Con Altura

Suzi Quatro – Bass Line

Kelly Clarkson - Broken & Beautiful (from the film UglyDolls) 

Georgia – About Work the Dancefloor

LAOISE – Mad

Ben Platt – Older

Rhys Lewis – End Like This

Brooke Candy – Happy

Emotional Oranges – Built That Way

Nicole Atkins & Jim Sclavunos - A Man Like Me

PHOTO CREDIT: Rob Blackham

Saint Agnes – Move Like a Ghost

Modest Mouse – Poison the Well

Russ - AINT GOIN BACK

Emeli Sandé - Sparrow 

Olivia O’Brien - Just Friends

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

__________

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.

___________

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

____________

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

___________

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.

____________

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

___________

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

__________

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.

__________

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

___________

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.

____________

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

___________

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?

__________

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

__________

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

____________

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

___________

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.

____________

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

___________

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

__________

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.