FEATURE: Blissfully Lost Inside the K-Hole: The Chemical Brothers’ Dig Your Own Hole at Twenty-Two

FEATURE:

 

 

Blissfully Lost Inside the K-Hole

IMAGE CREDIT: Getty Images

The Chemical Brothers’ Dig Your Own Hole at Twenty-Two

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I was just shy of fourteen when...

 IN THIS PHOTO: The Chemical Brothers (circa 1995)/PHOTO CREDIT: David Tonge

The Chemical Brothers’ Dig Your Own Hole came out. I was discovering Trip-Hop from the likes of Massive Attack (their debut album, Blue Lines, was released on 8th April, 1991) and harder sounds. It would be a couple more months until The Prodigy released their third album, The Fat of the Land, but, at such a young age, I was being exposed to these edgier and more exciting sounds. There were samples and Rock beats being integrated into something less conventional and mainstream. The Chemicals Brothers – formerly the Dust Brothers – were no stranger to remastering and reworking layers; taking music in new directions and creating material that was at once tripped-out and calm at the same time. The sensational Exit Planet Dust was released in 1995 (the debut from The Chemical Brothers) and there was a lot of anticipation around their second effort. Dig Your Own Hole was the first album from the duo to reach number-one and boasted five singles. With guest vocalists such as Noel Gallagher, the album was able to appeal to Electronica/Breakbeat fans and crossover into other genres. The Chemical Brothers were touring heavily in the run-up to Dig Your Own Hole and were keen to try out new material. As a teenager, I was excited by the mix of strangeness, darkness and effusive passion that made the songs explode and remain. Perhaps Block Rockin’ Beats is the standout but, to be fair, some of the lesser-played songs hold as much weight. It is a fantastically rich and rewarding album that stands the test of time.

When I was in school, there was still a lot of chatter and focus on Rock and Pop. 1997 was a year when Britpop mutated and there was a sort of shift from British dominance to new American ideas. That was nothing new. Trance and Dance music sort of spiked during the early/mid-1990s and then we saw Britpop and other tastes take over. One could definitely see a particular taste throughout the 1990s and, whilst a lot of the music was joyous and unifying, there was not a great deal of danger and sonic experimentation. Not in terms of electronic fusions and subverting traditional sounds. Electronic music and Big Beat were beginning to filter into the British mainstream. The fact Massive Attack brought out their debut the same week as The Chemical Brothers introduced their sophomore revelation shows there was a real revolution happening. I am not sure whether one can link British Big Beat and Electronic music with the House and Trance movement that moved a generation. Whether The Chemical Brothers’ Dig Your Own Hole as the next phase or a natural evolution, it definitely spoke to critics and fans alike. A lot of tastes during 1997 were still aimed at the charts: The Chemical Brothers offered this new world and sensation. Me and my friends were taken aback and, although we could not identify with a lot of the lyrical themes and sources of inspiration – one feels Dig Your Own Hole was primed at slightly older listeners – the music stood out and translated.

Maybe it was the primal energy of the beats – The Prodigy had already laid this foundation but The Chemical Brothers provided their own take – or the guest vocalists like Noel Gallagher and Beth Orton (Where Do I Begin)…something about Dig Your Own Hole cut through everything else and sparked the imagination. It might seem unusual to mark an album’s twenty-second birthday but I think pioneering records deserve investigation every year they are in the world. I do think there is nothing in music now like Dig Your Own Hole. The Chemical Brothers are releasing their ninth studio album, No Geography, on Friday and it will be interesting to see how they fare this time around. It is clear Tom Rowlands and Ed Simons have lost none of their spark but how many artists like them are around right now? Even if The Chemical Brothers remain untouched and in their own league, the magic and fire of Dig Your Own Hole inspired Big Beat and Electronic artists thereafter. The reviews for Dig Your Own Hole were emphatically positive. In this retrospective review from AllMusic (from 2011), they celebrated the energy and diversity of the album:

“Everything is going on at once in "Block Rockin' Beats," and it sets the pace for the rest of the record, where songs and styles blur into a continuous kaleidoscope of sound. It rocks hard enough for the pop audience, but it doesn't compromise either the Chemicals' sound or the adventurous, futuristic spirit of electronica -- even "Setting Sun," with its sly homages to the Beatles' "Tomorrow Never Knows" and Noel Gallagher's twisting, catchy melody, doesn't sound like retro psychedelia; it sounds vibrant, unexpected, and utterly contemporary.

IMAGE CREDIT: Getty Images 

There are no distinctions between different styles, and the Chemicals sound as if they're having fun, building Dig Your Own Hole from fragments of the past, distorting the rhythms and samples, and pushing it forward with an intoxicating rush of synthesizers, electronics, and layered drum machines. The Chemical Brothers might not push forward into self-consciously arty territories like some of their electronic peers, but they have more style and focus, constructing a blindingly innovative and relentlessly propulsive album that's an exhilarating listen -- one that sounds positively new but utterly inviting at the same time”.

It is clear, now, Dig Your Own Hole changed music in 1997 and helped bring Big Beat and Electronic music closer to the mainstream. DJ magazine wrote an article last year explaining how Dig Your Own Hole made a huge impression on the scene and helped push The Chemical Brothers to new heights:

“With the release of their debut album, 1995’s ‘Exit Planet Dust’, The Chemical Brothers were still seen in many quarters as representing the lingering remnants of big beat: a fun, if rather shallow, mid ’90s dance phenomenon that combined rock music structures with electronic production. After 1997’s ‘Dig Your Own Hole’, however, it was impossible to see The Chemical Brothers as anything but their own men, a legacy that has stayed with them until today. Open up a new Chemical Brothers album in 2018 and you genuinely don’t know what to expect, from shiny trance fusion to soil-worn psychedelia. This is the legacy of ‘Dig Your Own Hole’, an album that radiated ambition and adventure, as Tom Rowlands and Ed Simons matured as producers, growing up without ever growing old.

IN THIS PHOTO: The Chemical Brothers in 1997/PHOTO CREDIT: Joseph Cultice

It is a fitting closer for an album that remains almost unparalleled in electronic music for scope and adventure. Individually, the 11 tracks on ‘Dig Your Own Hole’ are fantastic; collectively they add up to a milestone of musical ambition, one that stinks of the sheer possibility of the electronic sound. In many ways, ‘Dig Your Own Hole’ is a nostalgic album, a reminder of an age in which Britpop, rock, beats, clarinets and psychedelic reels were united in the hearts of open-minded ravers. But it is very forward-looking too, its genre-hopping foreshadowing the post-genre pop world in which we now live. The Chemical Brothers didn’t just dig their own hole back in 1997, then; they dug out a new space for everyone”.

Two years ago, Loud and Quiet investigated The Chemical Brothers’ second album and how it added something fresh to music; a response to a particular sound that was becoming, perhaps, a little stale:

“On another, though, characterising ‘Dig Your Own Hole’ as a big beat record today seems absurd. If you remove the hulking behemoth of ‘Setting Sun’ from its middle (which, of course, you can’t – but more on that shortly), the album is suddenly recontextualised as three suites of ecstatic electronica, full of abstract glorious noise, nagging repetitions and polyrhythms and, crucially, a level of stylistic depth that separates it from merry pranksters such as Fatboy Slim and Bentley Rhythm Ace entirely…

That’s not to say, though, that even without Noel Gallagher’s presence, ‘Dig Your Own Hole’ would be a record for purists. Indeed, from the album’s opening combination of samples – bassline from jazz fusion, drums from funk, vocals from hip-hop – to the dizzying climax of ‘The Private Psychedelic Reel’ with its sitar drones and clarinet improvisations, it’s clear that Rowlands and Simons are more magpies than pure musicians, drawn less to the introspective, technical cleanliness of techno’s thud and more to the shimmering breadth of its influences.

…But nonetheless, in the comparison with Revolver perhaps lies Dig Your Own Hole’s ultimate appeal and addictiveness: alongside Leftfield’s ‘Leftism’, this is dance music’s greatest response to classic rock’s obsession with the idea of album flow (a very big-beat idea, one might argue), stymied only by a genius but entirely incongruous one-off single. Thankfully, in 2017, that can easily be fixed: Put on ‘Dig Your Own Hole’, but delete ‘Setting Sun’ from the playlist, instead letting ‘It Doesn’t Matter’ pick up straight from where ‘Piku’ left off: all of sudden, there materialises one of the all-time great albums – seamless, generous and engrossing – regardless of genre”.

To the school-age me, the full impact and beauty of Dig Your Own Hole could not be felt but, at the age of thirty-five, I am picking up new things I did not notice back then. Apart from The Chemical Brothers, there are not many acts that can create such a daring and sense-spinning sound. I am hearing of approaching artists picking up little bits from Dig Your Own Hole and updating and stretching it in their own directions. It is great The Chemical Brothers’ 1997 record is still creating influence and, back upon its release, it was a sensation. I am going to spin it (again) now and, if you have not experienced all its giddy wonder and innovation, make sure you…     

GET on it now!

FEATURE: The Kinks Are in the Age Preservation Society? Ensuring We Keep the Music of the Legends Alive

FEATURE:

 

 

The Kinks Are in the Age Preservation Society?

IN THIS PHOTO: Mick Jagger is recovering after undergoing heart valve replacement surgery/PHOTO CREDIT: Getty Images

Ensuring We Keep the Music of the Legends Alive

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PERHAPS my feature title is a bit unwieldy...

 PHOTO CREDIT: Brian Rasic/Getty Images

but it seemed appropriate to name-check a classic album from The Kinks – a band that, one feels, will start to lose relevance in years to come. My mind has gravitated towards the legends of music because, in sad news, Mick Jagger might be off of the road for a while. The BBC reported the news regarding his heart problems and the fact The Rolling Stones have proposed dates in the U.S. and Canada:

“The Rolling Stones frontman Sir Mick Jagger has said he is "on the mend" and "feeling much better" after receiving hospital treatment.

The singer has reportedly undergone heart valve replacement surgery.

In a tweet Jagger, 75, thanked hospital staff "for doing a superb job" as well as fans for their messages of support.

The band postponed their tour of the US and Canada after Jagger was advised by doctors that he needed medical treatment.

US gossip website Drudge Report was the first to report that Jagger would need surgery to replace a heart valve. The story was also reported by US music magazine Rolling Stone.

The Rolling Stones were due to kick off a 17-concert tour in Miami on 20 April, before travelling across North America until a finale in Oro-Medonte, in Ontario, Canada on 29 June.

The band are working with promoters to reschedule the shows.

Jagger previously apologised to fans for postponing the tour, writing that he was "devastated" and would be "working very hard to be back on stage as soon as I can".

 IN THIS PHOTO: Prince (who died in 2016)/PHOTO CREDIT: Richard E. Aaron/Redfern

There are varying reports but some are saying that Jagger and The Rolling Stones will not tour for another year. Jagger himself has said he’s in good spirits but, whoever you believe, it has been a bit scary. We always like to think the greats will be around forever and they will never go. We lost David Bowie and Prince in 2016 and Scott Walker died a week ago. My heart did slightly slow when I heard news Jagger was in hospital and that he needed an operation. He is in his seventies so it is understandable that he’d be prone to the same problems as anyone else. Jagger is this ever-fit and active frontman who struts around the stage and captivates the masses. I, like so many, grew up listening to The Rolling Stones and never would have believed Jagger and his band would still be performing in 2019. It is amazing to see the longevity they have and the fact there are no signs of retirement. Touring can be an issue for artists when they reach a certain age. Neil Diamond announced his plans to stop touring last year after a Parkinson’s diagnoses and illness has taken other icons from the stage. Although The Rolling Stones are not calling it quits yet, one feels that in this day and age the only real way of getting this great music to the stage is through touring.

 IN THIS PHOTO: Joni Mitchell captured in 1983 (a favourite artist of mine and someone, I hope, whose music is preserved and celebrated long after she has gone)/PHOTO CREDIT: Laurie Lewis

The loss of David Bowie and Prince a few years back was devastating but, one hopes, generations will keep the music alive. I do think, in a streaming age, more emphasis is put on the newer breed. For many, the only way the music of legendary acts will get to them is via the stage. Paul Simon is another name that is on my mind as I was writing about Graceland yesterday. Simon is not quitting music but we will never see him tour again. The man has been a pioneer since the 1960s so it is sad, if understandable, that he has to give up performing. I guess it is inevitable that, when artists grow older, they have to think about their health and fitness. If some feel it is time to bow out, there are others who are raring to go. Paul McCartney has barely slowed down since The Beatles rocked into music in the early-1960s and, touch wood, he will keep plugging and playing for a lot longer. He is seventy-six now and I am not sure how many years of touring he has. It might sound like I am being morbid but there will be hard days ahead where we have to say goodbye to the icons of music. Mick Jagger, Paul McCartney and Paul Simon will go; Bob Dylan, Joni Mitchell and Neil Young too; Madonna, Ray Davies and many others. There is nothing we can do to stop it but, in less than a couple of decades, there is a chance that the greatest innovators and names who have ever lived will be gone – what happens with the music and keeping them alive?

We still listen to Prince and David Bowie but I do feel that there is a risk that, in time, the music of these geniuses will start to fade and buried in streaming sites. Radio stations will keep playing their music but I wonder whether there will be or should be a way of ensuring these great artists are as relevant now/the future as they have been. It is tragic thinking that there will be a day where the titans are not here but their music will inspire generations to come. Unless a musician/fan is looking for their music in record shops or listening to the best radio stations, will we see that popularity wane? The fact that I revisited Paul Simon’s 1986 masterpiece yesterday made me wonder whether I have been spending enough time with the music of people like Simon. I listen to McCartney a lot but do feel like bands like The Kinks and Pink Floyd are not as hot in my mind as they should be. When I was listening to Graceland yesterday, it led me to Paul Simon’s eponymous album and, from there, classic Simon & Garfunkel. I do wonder whether we tend to let classic albums slip because they are not being promoted or the artists responsible for them are not touring. We have come to a time when, sadly, some departed artists are being kept alive via holograms – a rather ghoulish and weird way of seeing them perform ‘live’.

 IN THIS PHOTO: David Bowie photoed in Paris in 1976/PHOTO CREDIT: Andrew Kent

Every time a huge musician leaves us, there is a grieving period and that reaction but, before long, we sort of accept the news. Scott Walker just died and I do wonder whether generations to come will discover his music as readily now that he is not with us. Radio and the Internet preserve the music but how to bring it to the attention of the young?! I do think there should be a website or some way of ensuring that the great albums from these immense artists are promoted and we do not let them slip away. I have been pitching the idea of a website that makes it easier for people to access the work of great artists easily. By that, I mean they do not have to randomly stumble upon the work of, say, David Bowie to bring him to mind. I do feel like streaming services are brilliant but there is an emphasis on the new and relevant. We risk ignoring the greats who helped progress music in order to highlight the newcomers. I grew up around classic albums and these icons; they were a natural part of my upbringing and, as my family were so record-focused, I was listening to music from artists who died before I was born – including Elvis Presley and Marc Bolan. The more we turn to the Internet and this dictates tastes, the likelier it is that the great artists we have now might struggle for attention in decades to come.

Maybe I am being a bit protective and worried for no reason but the mortality of icons like Mick Jagger has made me look ahead. We do not really have music museums and exhibitions to illuminate music icons to the young. There are not websites around, really, that preserve the music and ensure they are part of our regular rotation. I am aware that I am a bit remiss and overlook some bands/artists that are departed. I have not listened to Aretha Franklin for a while and, when she was alive, I was much more proactive and aware. I know we do not have a duty to promote artists when they have gone but, at the same time, how are musicians of the future going to discover their work? Will the young now miss out on classic acts because they are not putting material out? I think it is more than me being nostalgic or wanting the icons to stay alive and not go anywhere. The swell and wave of grief and affection received when we do lose a legend shows how much their music means. I do feel like there should be some sort of conservation or preservation whereby we are reminded about these heroes without having to stumble upon the music or happen to tune into the radio at the right time. Luckily, let’s hope, we do not have to incur the loss of a giant for a very long time and, for those who have left us, I would like to see their work more readily available. Whether that means sites like Spotify doing a bit more or seeing a return of the classic album series – what the hell happened to them?! – I don’t know. We do need to understand the importance of these huge artists and ensure that, in years and decades from now, their music is as played and discovered as it is now. To lose them is tragic enough but to lose sight of the music itself would be…

 IN THIS PHOTO: Aretha Franklin died in 2018/PHOTO CREDIT: Fred A. Sabine/NBC/Getty Images

BEYOND heartbreaking.

FEATURE: Sneaker Pimps: Musicians and the Fashion Game

FEATURE:

 

 

Sneaker Pimps

IN THIS PHOTO: Beyoncé appeared in VOGUE’s September 2018 edition/PHOTO CREDIT: Tyler Mitchell

Musicians and the Fashion Game

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IT is always risky when artists step into other areas...

 IN THIS PHOTO: Rihanna has her own line of Fenty beauty products/PHOTO CREDIT: Getty Images/Press

and go outside of music. There is nothing new about the musician taking their talent to business or getting involved with their own label. There are big names who have their own record label and others who are involved in technology. Think about Dre and the Beats range of headphones, earphones and accessories. Artists are no stranger to promoting the latest bit of kit and getting involved with the coolest bits of tech. I can understand why many of them endorse technology and the benefits that can have. One wonders how many artists actually get involved with something they put their names to. Consider Dre and his role. Did he actually have any say regarding the headphones and accessories he has put his name to? I do wonder whether there is any real decision-making from him or whether it is more a financial investment. Other areas of commerce and profitability have seen big names in music create their own perfume. This article talked about the proliferation of divas adding their name to the scent market. One could, if they want, have perfumes endorsed by Rihanna or Jennifer Lopez. Many out there would want to smell like Jennifer Lopez or Rihanna or Taylor Swift – many men, one would imagine! – but you do query whether these artists had any say regarding the actual smell and the process. It is rather strange what artists say ‘yes’ to and how much it is about money or genuinely making something good.

 IN THIS PHOTO: Liam Gallagher’s Little Green fashion range recently went into administration/PHOTO CREDIT: RANKIN

I feel that there is a risk regarding artist-endorsed products considering the state of the high-street. A lot of sales can come online but they rely on the high-street like many of us. How damaging can it be when a celebrity puts their name to something and then it doesn’t do that well. Fashion is a big seller and popular option that, again, has seen artists add their brand/name to for years. There have been a couple of stories that show different fortunes regarding musician-endorsed/launched brands. Oasis’ Liam Gallagher and his Pretty Green label has seen its fortunes dip. He has a range of parkas and clothes that have a very Gallagher-esque look to them. There is actually some pretty good stuff to be found but, against such rivalry and challenging times, it seems like the label is in danger. NME reported the news:

“Liam Gallagher’s Pretty Green clothing brand has been sold to JD Sports, after it was confirmed that the label had gone into administration.

The brand, which was set up by the former Oasis singer in 2009, was purchased by the high street giant after administrators were called in last week.

JD Sports will keep open Pretty Green’s flagship store in Manchester , but 11 other stores and 33 concessions in House of Fraser are set to cease trading – putting 97 jobs at risk.

The fashion label’s challenges were blamed on tough high street conditions and the knock-on effect of House of Fraser falling into administration last year. It’s believed that House of Fraser owed £500,000 to Pretty Green when the retail giant collapsed.

Peter Cowgill, executive chairman of JD Sports, said: “We are pleased to have completed the acquisition of the highly regarded Pretty Green brand. We look forward to working with the team on future positive developments.”

 

Simon Thomas, partner at administrators Moorfields said: “Pretty Green is a popular brand and received a considerable amount of interest. We are confident that JD Sports is the right fit for the business and will help to grow its online and wholesale channels.”

Speaking last month after rumours of the brand’s financial troubles first emerged, Liam Gallagher wrote on Twitter: “As long as we’ve got our health eh gotta put things into perspective”.

I did not know how far the musicians-as-fashion-designers thing goes. One feels Gallagher did have a big say regarding the products put out but, as this Billboard article shows, plenty of big names have made a success of it. Here are just a few who, through collaboration or personal innovation, have brought their own vision to the market:

“Although this line is geared toward teens, Madonna's 2010 Material Girlline is a huge contender at Macy's with ladies like Kelly Osbourne, Taylor Momsen and Rita Ora fronting the ‘80s themed ads. Last year, Pia Miawas recruited as the brand's first ever Fashion Director, fronting campaigns and designing pieces.

Blending the beat of Guatemalan, Japanese and Jamaican styles, L.A.M.B. is a brand that packs powerful personality, but while the singer pursued other creative paths, like her new Christmas album or campaign partnership with Revlon, she's been absent from L.A.M.B  shows and presentations in the past. The singer did, however, recently debut a third collection of gx by Gwen Stefani eyewear with Tura.

The rapper’s clothing brand, October’s Very Own (named after his record label, OVO Sound), was launched in 2014 and has flagship locations in Toronto, Los Angeles and New York. Judging by its website where almost everything is sold out, Drake’s involvement in the apparel industry has been quite a success so far.

After showing the first two seasons of her wildly successful Fenty x Puma collection in Paris, the Bajan beauty brought her Spring/Summer ’18 presentation to New York Fashion Week, and sent fashion fans’ hearts racing… literally. In addition to Fenty x Puma, she also created Fenty Beauty, which certainly met the long-awaited hype when the collection dropped 44 shades of foundation during NYFW. Her involvement with Puma was not the first of her design career though; she previously created collections for both Armani Jeans (2011) and River Island (2013)”.

I guess a lot of the success and failure comes down to how many fans an artist has any what their reputation is. Victoria Beckham is a much-loved fashion designer and innovator and has her past with the Spice Girls and the fact that she is this iconic figure. Someone like Liam Gallagher does have a great legacy but maybe not perceived as being cool and stylish as Victoria Beckham or someone like Madonna. Current favourites like Drake are involved in fashion and I do wonder whether people are buying the range because they want to wear a bit of that artists or whether it is an unbiased and objective fashion choice. Maybe that is irrelevant but I do think there is a bit of a risk, in these current times, entering the fashion market. I hope Liam Gallagher’s brand continues and can find success but, look back at the history of artists getting involved with fashion and success is not always ensured.

 IN THIS PHOTO: Avril Lavigne/PHOTO CREDIT: Getty Images/Press

Back in 2017, Format discussed the mixed fortunes of big artists who have got involved with fashion:

“When recording artists become fashion designers, the result can be disastrous. Who told Avril Lavigne that Abbey Dawn was a good idea? There have been countless straight-up ugly clothing lines launched by rappers, pop stars and even country singers over the last twenty or so years.

But what about the musicians that have actually done a good job? Brands like Beyoncé’s Ivy Park and Rihanna’s Fenty x Puma often get more buzz and attention for their runway shows than a lot of major fashion houses. Even Vogue has jumped on board covering each new season of Kanye West’s Yeezy.

While the commercial success of these labels is largely thanks to the celebrity of their founders, it’s undeniable that certain musicians have a genuinely refined eye for colour, shape and texture in clothing. They’re not just copying fashion, they’re making fashion”.

The reason I bring up fashion as a line of musical inquiry is that Beyoncé is launching her own range of sneakers/trainers. She is no stranger to fashion herself but, very soon, people can walk around in sneakers (I have to call them that as they are American-made) with Beyoncé’s approval. Many have noticed how, of all the huge names out there, Beyoncé has been a little quiet regarding endorsement and fashion. I will come to the difference of those who are actively involved in design and marketing and artists who endorse a product. Maybe there is less risk regarding Beyoncé’s venture but it seems like, even with her clout, there could be risks.

The Cut give details regarding Beyoncé backing a new range of sneakers:

“But on Thursday, the pop star and Adidas announced a “multi-layered partnership,” which will feature a relaunch of her Ivy Park clothing line and original product releases from the brand. Soon, you’ll be able to wear footwear created under the direction of Beyoncé herself.

“This is the partnership of a lifetime for me,” Beyoncé said in a press release. “[A]didas has had tremendous success in pushing creative boundaries. We share a philosophy that puts creativity, growth and social responsibility at the forefront of business. I look forward to re-launching and expanding Ivy Park on a truly global scale with a proven, dynamic leader.”

As a creative partner with Adidas, Beyoncé will have a part in designing footwear and apparel with the brand, as well as other collaborative projects. The brand and the artist will work to create “a unique purpose-driven program focused on empowering and enabling the next generation of athletes, creators and leaders”.

I think it is pretty cool when an artist gets involved with something like a clothing line or footwear as it is a bit more interesting than the usual fare you’d find in the shops. I am not sure whether Beyoncé’s Addidas’ are making their way to U.K. stores and quite what the reality is at the moment. Whereas one feels Liam Gallagher had a bit of a say regarding his Pretty Green line, I think Beyoncé had a little less input regarding the new sneakers. Her name will see sales boom and, so long as the product is not too expensive, it will inspire other artists to step forward. That issue of money and pricing some fans out is something the likes of Beyoncé will want to avoid.

A lot of young fans will want to, literally, follow in the footsteps of Beyoncé and have a bit of her on their feet. It would be tempting to slap a high price tag on the sneakers but that would alienate many and can be a reason for failure. Even if you are a big artist then you still need to work with suppliers and chains who stock your product. Looking at Beyoncé and she has suffered a bit of misfortune regarding that very thing. The Cut’s article continues the story:

“Beyoncé launched Ivy Park in 2016, originally in partnership with Topshop. But she became the sole owner of Ivy Park last year, when Topshop owner Sir Philip Green was accused of racist and sexually inappropriate behavior, according to the New York Times. The relaunch under Adidas will still respect Beyoncé’s “ownership of her company which continues her journey as one of the first black women to be the sole owner of an athleisure brand,” according to the press release.

“Beyoncé is an iconic creator but also a proven business leader, and together, we have the ability to inspire change and empower the next generation of creators,” said Adidas board member Eric Liedtke”.

Making sure you do not price consumers out of the market, it is quite cool knowing that an artist has sort of given their blessing to a product. It seems like the sneaker/footwear side of the market is booming. Beyoncé is not alone and, as this CNBC article shows, there are rivals in direct competition.

“Other retailers, including some of Adidas' rivals, are also tapping celebrities to push their products to more consumers. Sneaker maker Puma has an exclusive line with singer and actress Selena Gomez, as one example”.

PHOTO CREDIT: Kevin Mazur/Getty Images for TIDAL

There are examples where musicians have added their name to the fashion world and it has not always gone right. I do feel like Liam Gallagher will suffer a blow whereas it seems like an exciting new venture is opening for Beyoncé. I feel like these big names will influence newer acts to diversify and become more ambitious. A career in music is busy and stressful but there is nothing to say lesser artists can launch their own fashion range and collaborate. Maybe my feature title is a bit harsh: artists are not pimping themselves but, in my mind, I was talking about them pimping out and decorating sneakers. Some do feel like musicians endorsing fashion is a bit cheap and like they are trying to make some easy money. Music is not just about the songs themselves and I think a lot of modern artists are role models because of their business minds and aspirations. If the likes of Selena Gomez and Beyoncé compel other women to get into fashion and launch their own label then so be it. I think it would be cool to see other iconic 1990s bands such as Oasis get into the market.

PHOTO CREDIT: @theburbgirl/Unsplash

So many artists have signature looks so there are going to be people who want to copy them. It is great to see so many people take an interest in clothing because of a musician’s involvement. So long as, like I said, the price is not extortionate and people are not being scared off then it is a good thing. An artist needs to consider the potential of the brand/product and not just assume that, because they are famous, they will sell themselves. There have been so many failures through the years and there is no guarantee of success! As Beyoncé steps into the sneakers/trainers market, let’s hope it is profitable and successful. Even though there have been failures and misguided musician-fashion blends, if it is done right and a success then it can be hugely inspiring. I am interested to see which artist steps into…

 PHOTO CREDIT: @echaparro/Unsplash

THE world of fashion next.

TRACK REVIEW: HANNIE (ft. Carys Selvey) - 5 Years

TRACK REVIEW:

 

HANNIE (ft. Carys Selvey)

 5 Years

 

9.2/10

The track, 5 Years, is available via:

https://open.spotify.com/track/4U8nAj5OixDfBvYGg2tpqW?si=Cwg1Af4fR6-7Ik-oFv2syw

ORIGIN:

London, U.K.

GENRE:

Pop

RELEASE DATE:

8th March, 2019

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THIS time out...

I will be exploring HANNIE and their new single, 5 Years. I know the song has been out for a few weeks now and, going forward, I am only really going to look at songs that are new and upcoming. The trouble is that you get sent requests and they sort of pile up. I only have time to do one review a week from the public so it is inevitable that some get left a bit and become a bit older. That said, 5 Years is not that old and still fresh in the minds of many. I will chat about the song soon but, before then, I wanted to address HANNIE and how artists come together – or can do – in the modern age; duos/production duos and why there are marketing opportunities from HANNIE; getting a bit more online in the way of information to give the public a greater insight into artists; songs that do not have a bitter aftertaste or anxiety; a little about Pop in general and its flexibility – I will end by looking at where HANNIE are headed. I was looking at the story of HANNIE and how they found one another. I have interviewed Hannah Koppenburg and Annie Wagstaff before and they strike me as very bonded and sisterly. One would think they have been friends since childhood and sort of worked their way into music. Actually, they met over Instagram after they uploaded cover versions. Maybe it is not as romantic as a band advertising in a music magazine or there being this chance meeting somewhere that bonds them all together. Technology has provided us the chance to take music anywhere and, in many ways, it has made it easier for people to find one another. One might say the fact artists do form because of social media and the Internet lacks a certain charm, connection and human touch. There is something in that but how likely is it, nowadays, that every band/duo comes together that way? There are artists who meet in public and form friendships but I think the Internet provides a new world.

In the case of HANNIE, the girls got to see one another’s work and were able to see, before meeting actually, whether their music would mesh and they’d be a good fit. Maybe they could have met in a different situation or by chance but the fact Koppenburg is from Germany and Wagstaff is from England means that their paths might not have otherwise intersected. That is what I mean I talk about the Internet and this universe. How many great combinations and sounds have been forged because of the networking opportunities and platforms we have in the modern time? It is great that we have these mediums where artists can communicate and collaborate without having to navigate continents and space. Many might state that there is a lack of organic charge and a business-like approach to things but, as mentioned, there are plenty of bands that are formed in the old-school way. HANNIE have this natural understanding and bond and I do wonder if they would have found one another were it not for Instagram. The duo have amassed an impressive following and caught the idea of various brands and outlets. I do love what they are doing now and how far they have come. I am interested when it comes to artists and how they find one another. Not only is the Internet great for sharing music and reaching new audiences but it is invaluable when it comes to joining people together. I do think music is as broad as it is because we have sites like Instagram and Twitter so artists can collaborate more readily and have those options. I do love the networking opportunities out there and the fact artists from all over the world can easily find one another and create music. HANNIE do have a natural friendship but, again, would they be where they are now were it not for them uploading videos to Instagram?! I shall move on and look at duos in general.

When it comes to HANNIE, they are a production duo who works with other singers. I do love duos in general and the fact they are quite underrated. I think solo artists get most of the attention and they seem to be dominating music right now. Bands are still there and creating good work but they do not hold the same sway as they once did. I have always gravitated towards duos because they can often project the same energy as bands and seem to have greater nimbleness. I do feel solo artists can be a bit limited and lack a certain something. As REWS show, duos can definitely pummel and have the same strength as a full band. Most of the duos I come across work with Pop and Electro sounds but, in the case of HANNIE, they mix in different sensations and sides. I do think that duos will make a real charge and get more attention as the years go on. I feel duos are particularly strong and appealing because of that central relationship. Think about the way HANNIE connect and the quality of their music. You know there is that sense of trust and admiration at the core of everything they do. Bands can and do have that but there is something different about duos. It is a tighter unit and, in many ways, they do not have anywhere to hide. At a time when so many producers out there are men and I do wonder if women are ignored in that respect, HANNIE are inspiration and proof that some of the best sounds are being made by women. That might sound a little patronising but I know how many great female producers there are but I do think the market is more set up for men. HANNIE are quite rare in a sense and will lead to some change. I do think most duos out there have others produce their work and usually lead all the tracks. HANNIE are different in the sense they often use guests to voice their songs and the girls themselves produce.

 PHOTO CREDIT: Arielle Shear

Maybe I am wrong but I do not see many duos like that at all. I mentioned how HANNIE have collaborated with brands and among their credits is Nasty Girl and River Island. I am writing a piece later today that looks at artists going into fashion. There have been mixed fortunes for Beyoncé and Liam Gallagher this week but, despite it being tough for retailers and brands, musicians are still involved with fashion and keen to launch their own labels. I think there is something in there for HANNIE. It is clear that they are happy to join alongside brands and promote them but I do wonder whether they have considered launching their own wears. I think there is a HANNIE brand awaiting that could include clothing and audio equipment. They are great producers but they also have a real flair when it comes to style. One looks at them and you can easily imagine them launching their own fashion brand or a bigger label. Maybe they want to focus on the music for now but I can imagine them branching out and conquering the market soon enough. Not only could they establish their own brand but they could use that to inspire women in music and those thinking of becoming producers. There are so many different sides to HANNIE’s music and I think there is a huge audience out there for them. I am sure they have their own ideas and plans but we shall see where they head. Purists will state that artists need to focus on music but the modern climate means artists are going into other areas and focusing on fashion, technology and business. There is nothing wrong with that and I feel that they can act as ambassadors and inspirational figures. I do think, in a good way, HANNIE are quite marketable and could definitely succeed if they wanted to embrace their own fashion label or step in other directions.

HANNIE have been worked hard for a long time now and are growing with each release. I am curious whether they will put out an album in 2019 and what their plans are. I will touch on that in the conclusion but, as I hinted, they could go beyond music and get a HANNIE-style revolution happening. It is clear they have a big future but I do wonder where they came from and what music inspires them. It is the nature of modern music and P.R. campaigns that not too much is ever revealed about an artist. Maybe people figure that too much can be a bad thing and the music will fill in a lot of the gaps. I often bemoan the lack of photos some artists have and I do like to see a good biography. I know HANNIE met over Instagram and shared videos with each other but it would be good to know how Hannah Koppenburg and Annie Wagstaff started life. Every artist has a musical upbringing in the sense they were exposed to sounds and different artists. It would be interesting to discover how both of their lives started in that respect and how they came into music. I can get a bit from the music but there is a lot to be said for having a bit more information on the page. Most of the time, emails and pitches contain streaming figures and which outlets have supported the music of that artist. This is important as we can see how they are growing and popular they are but I want to know more about the human(s) behind the music and fewer statistics. It is good having some context when you approach artists – for journalists like me, it means I have something to write about and different angles. Carys Selvey is the singer on their latest track, 5 Years, and brings something fresh to HANNIE’s music. I like the fact the duo work with different artists and can get unique sounds with each release.

If they had a bit more information on the page, it would add to the music and give a bit more depth. It is a minor complaint but HANNIE, I am sure, have a lot to say, and there are few interviews online available. I am eager to know where they each come from – in a musical sense – and what motivates them. It is a competitive industry, music, so artists needs to think about their biographies and things like photos. There are some good photos online already but I wonder whether there will be some new shoots with HANNIE. This will all add to their portfolio and mean they can reach more people. The music itself is great and varied so they do not have to worry too much about the production/music side of things. To get that additional boost and reach new audiences, let’s get some HANNIE information and some interviews online with Hannah Koppenburg and Annie Wagstaff. I am excited to see where the duo can go and whether they will be touring in 2019. There is a lot to love about them and their music definitely has a special edge to it. I feel a lot of Pop artists can be a bit limited with their sounds and are not willing to experiment and look in other directions. I have seen duos split up because of this and the fact their music sounds very similar to other stuff out there. HANNIE are always mobile so I do not think they will have any danger when it comes to success and longevity. Maybe a bit more online would help them but I actually think they are doing really well at the moment. It is clear that the music media is responding to what they are throwing out and there is no real end to what they can do. 5 Years is their sixth release and, with every move they make, they step somewhere fresh. There are not many duos/bands that can claim that so I do hope that HANNIE have a very long and prosperous future.

Before reviewing 5 Years, I wanted to look at music and general and whether it is too reliant on negativity. Maybe artists are not deliberately trying to be moody and depressing but there are few out there that project anything other than anxiety and a bitter taste. Even if songs have an upbeat melody, the lyrics can be quite cutting and have that sour edge. It is not the case that every artist operates this way but I am hearing fewer and fewer cheery songs and artists who just want people to have fun or let go. I do get that artists want to project something serious and they cannot waste the opportunity they have. A lot of songs revolve around personal issues and problems. It is great to connect with people and write songs that are relatable and familiar. Aside from that, we all need somewhere to escape to. If all music is quite negative or anxious then that has quite a problematic effect on people. HANNIE are on the other end of the spectrum and keen to give as much light and life as they can. 5 Years is about living in the now and not really worrying about the past. We can all get a bit tense when it comes to expectations and we put pressure on ourselves unfairly. Rather than letting that feeling win out, let’s let life take us where it wants and see what happens. That sense of liberation and ease goes into the song – more artists should follow this example. It is great that there are acts like HANNIE that can take a more positive approach to music and create songs that make you smile. We need to embrace positive aspects because, right now, there is not a lot of positivity about. Music needs to be honest and real but it also needs to give everyone the chance to relax and find something nourishing. I go back in time when I want to experience something joyful and do worry modern artists have an inability to be forward-looking and bright. I shall leave things here because I am keen to explore 5 Years and a new venture for HANNIE.

One gets some funky clicks and twang from the opening of 5 Years. One might expect electronics and buzz but, instead, you get something quite smooth and slinky. Carys Selvey is on the microphone and talks about forgetting what was said yesterday and focusing on the future. I guess there have been cross words and some problems but that is not something she wants to focus on. There are little buzzes that come through and electricity that gives the song a bit more energy and passion. Combining with something more causal and cool, the song keeps growing and reveals new layers. HANNIE provide the texture and backing whilst the heroine reveals pains that have come before and some angered words that might have been said in haste. I do feel like there are many artists that focus on love and relationships and document them in a very negative and samey manner. Rather than dwelling on the rough aspects and getting hung up on the bad times, HANNIE and Carys Selvey are looking at moving forward and not letting that rule things. There is this positive aspect that is more about forgiveness and ignoring minor problems rather than letting stress and anger dominate. The chorus has a summer-time feel and boasts a pretty big beat. The song might be more suited to the shores of BBC Radio 1 but the reason I took it on – I am not a fan of BBC Radio 1 – is that there is more depth and potential to be found. I think a station like BBC Radio 6 Music could play the song because 5 Years is not pure Pop and does seem to have more to it. You come into the chorus not knowing what is going to happen but you get struck by the swagger and sway. The heroine wants any cross words to be set aside as, in five years, they are not going to be remembered.

 PHOTO CREDIT: Arielle Shear

So many other artists will look at an argument and make that the focus. There will be this invariable and stressful argument and it gets a bit tired. HANNIE and Selvey have created a song that asks what is the point of harbouring ill feelings and focusing on something minor. I can get behind that sentiment and feel that a lot of other artists need to follow this lead. The chorus for 5 Years is pretty emphatic and sounds like it is perfect for beach parties. I have not heard that many Pop songs that have a positive skin and a real natural sound to them. A lot of times, the production is too polished and the vocal sounds machine-processed and drained of personality. On this occasion, HANNIE treat the music with respect and allow the vocal to shine. It is pretty high in the mix and not subjected to trickery and technological intrusion. Of course, there is a bit of shine to be found but it does not dominate. Our heroine does not want to think that things are over and she knows everything is within reach. It seems like this relationship has provided challenges but she is not going to call it quits. They need to focus on the here and now and look at what lies ahead. The heroine is young and not going to let things get on top of her. When the chorus returns, it is already in the head and familiar. The fact there are vocals layered and nice little touches here and there makes it more appealing and stronger than a lot of material in the Pop market. Selvey does not want consequences and to think about problems: there are possibilities in front of them and they can let the silly little things slide. In many ways, there is this urge to make silly mistakes and be young while they can. Nothing as big as arguing and exploding but being a bit reckless and foolish when the mood calls for it. I do think many people ignore life and do not have enough fun. 5 Years is a great song for releasing energy and embracing positivity. Selvey gives the song a real sense of passion and excitement that will bring in those not usually enamoured of Pop. It seems that 5 Years is about these young lovers who could get buried by responsibility or focus on bad things but need to live their life and be free. I do think more artists should follow this lead and write songs that lift the mood and look away from the strains and perils of relationships.

It has been a busy past couple of years for Hannah Koppenburg and Annie Wagstaff. With Carys Selvey, they have created something great with 5 Years. The duo has been keeping busy but I wonder whether there are going to be more tour dates in the future. They have some great music under their belts so it is understandable people will want to catch them on the road. HANNIE is a solid and exciting unit and one that, I feel, could be around for years to come. I did ask whether they will release an album this year and that might be something to ponder. There is definitely a lot of energy and creativity in the camp and I would be interested to see what a HANNIE album contains. Clearly, Koppenburg and Wagstaff have a lot of affection for one another and you get this translated into fantastic music. I do love what they are doing and the fact there are not many others like them. I speculated they might think about a fashion brand or going into business and having their own label. The girls have been backed by brands before and are no stranger to that side of the market. Maybe that is all ahead of them and I know they want to concentrate on the music right now. This year is fairly new so I am sure it is too early to say whether they will tour abroad and how far they will go. Every release means new fans come on-board and there is this feeling that HANNIE are on the cusp of being pretty big. So many artists, as I said, deal with negativity and it is nice to hear music that genuinely puts you in a better mood. I think there is a lot of potential when it comes to HANNIE’s music and 2019 will be a very important year. Their material is getting stronger and I like the artists they collaborate with.

At the moment, HANNIE are playing around London and making a name for themselves in the capital. They have their own label, HANNIE Music, and have aspirations when it comes to international markets. I do feel like they could be a big hit in countries like America and I wonder whether that is part of their plans going forward. HANNIE are pretty ambitious and they have a great relationship with their fans. They are fairly new to Twitter and not tweeted much but I think they need to consider upping their game there. Instagram is important but there are so many opportunities on Twitter. They could gain such a huge following there and get so many chances from putting out a little more. It need not be anything too much; maybe some new updates or interviews. I think Twitter is essential and HANNIE can get their music spread to new nations if they use Twitter a bit more. It is a minor quibble but, apart from that, they hardly need my advice. They are doing really well and taking every chance to get their music to the people. I genuinely think duos like HANNIE can inspire the next generation and they are setting a great example. There are not many production duos around but HANNIE are much more than that. It seems there is this whole HANNIE universe that has its band of followers and name. I am not sure whether they have a nickname for their fans but, when you look at social media, you can tell that Hannah Koppenburg and Annie Wagstaff have a great bond with their supporters. It is wonderful to see and I do hope that there are many more years in the tank for HANNIE. It is the energy and passion they put into every song that amazes me and how busy the music is. May artists are content to throw out the minimum and not really look at other possibilities. There is a curiosity when it comes to HANNIE. Already, HANNIE have played around the world but I know there are nations they want to tick off the list and will want to explore. Australia seems like a natural territory for them and I do wonder whether they have considered playing there. I shall leave my predictions and urges aside and just encourage people to check out HANNIE. Their previous music was great but, with Carys Selvey, they have created something brilliant with 5 Years. It is a fantastic song that gets into the blood and really makes you feel better. This is what we want and should encourage. It seems there is no end in sight for HANNIE’s great music and, if anything, they are just getting started. If you need a boost and kick to get you out of the door then you really need to listen to what…

HANNIE are producing right now.                                                     

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Follow HANNIE

Twitter:

https://twitter.com/hanniemusic

Facebook:

https://www.facebook.com/hannieplays/

Spotify:

https://open.spotify.com/artist/7vp58vF08Hg9TbDrYH2nAh?si=j7wNTZH6Q1aJ_6L39xLSgw

Instagram:

https://www.instagram.com/hannieplays/

YouTube:

https://www.youtube.com/channel/UCYtdHajTrfKJmZ1IavyjCyg/featured

SoundCloud:

https://soundcloud.com/hannieplays

FEATURE: Vinyl Corner: Paul Simon - Graceland

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Getty Images 

Paul Simon - Graceland

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SOME albums come along and it seems scarcely...

IN THIS PHOTO: Paul Simon (circa 1986)/PHOTO CREDIT: Getty Images

possible they could sound as good as they do! Things were not overly-rosy in the camp of Paul Simon in the run-up to 1986’s Graceland. The album is Simon’s most-successful ever and has sold over sixteen-million copies worldwide. It is considered one of the finest albums of all time and it is definitely in my top-three records! Hearts and Bones (1983) did not fare that well commercially and, despite some positive reviews, there were many who doubted Simon’s genius and future potential. Not that Paul Simon needed to defend himself or please everyone. Hearts and Bones is a great album and features incredible songs like Rene and Georgette Magritte with Their Dog After the War. Simon’s partnership with Art Garfunkel was all but over and it seemed like he (Simon) was entering a rather difficult and unsure period. Recorded from 1985 to 1986, Graceland boasts a blend of emotions, genres and colours that saw Simon revitalised and inspired. Having become interested in bootleg cassettes of South African township artists, Simon was inspired and reborn. He travelled to Johannesburg where he spent a couple of weeks recording with South African musicians. The fact apartheid was raging when Simon was making Graceland meant he was taking risks and definitely turning heads. It was clear that the pre-Graceland period was fallow and Simon needed a spark to bring about revival and fresh guidance. With producer Roy Halee, this remarkable album was created alongside some of the best voices and musicians in South Africa.

Even if there was harmony in the studio, there was some hostility and antipathy directed at Simon in the outside world. It was difficult for a musician to directly go against apartheid and hire South African musicians at a very tense and divided time. Recording at various locations – including Los Angeles and Louisiana -, Simon slowly began putting Graceland together. Whilst there was ample inspiration and motivation for a new album, the tracks themselves did not come together as speedily as some of his other work. One of the reasons I fell in love with Graceland was the Classic Album series that, alongside this record, spotlighted great releases and spoke to the people involved. To see Simon dissect his song and talk about his creative process made Graceland come alive in new ways. Little details regarding sonic touches – reversing guitar sounds, for example – and how the musicians interacted filled me with delight and curiosity. Graceland is my third-favourite album and I never get tired of hearing it. It is one of those albums you listen to in full and never skip a track. I feel you need to experience every track to get a full impression of Paul Simon’s vision and motivation. Iconic artists like The Everly Brothers and Linda Ronstadt helped add new light and flavours to the album. Even though Graceland is a Paul Simon album, it seems more collaborative than a lot of what he put out before.

 IN THIS PHOTO: Paul Simon in 1986/PHOTO CREDIT: Lynn Goldsmith

Los Lobos played on All Around the World or The Myth of Fingerprints whereas Ladysmith Black Mambazo featured heavily – especially notable on Diamonds on the Soles of Her Shoes and Homeless. You listen to Graceland and there is no sense of tension and struggle. That was very different compared with what was happening outside of the studio when Simon was recording in South Africa. Simon and his players would record until the evening but not walk the streets through fear of arrest or attack. Simon paid the musicians fairly and treated them with great respect even though politicians and others in South Africa were keen to divide and alienate. It was a very tense time that, in some ways, makes the music of Graceland as much a historical statement and landmark as a simple record! The sheer variety of sounds on Graceland is staggering. Pop, Rock and South African grooves all interplay and unite seamlessly. Think of albums released in 1986 and how many can you compare to Graceland in terms of sounds and scope?! Not only did Paul Simon help break down racial barriers in South Africa and raise awareness of apartheid but, musically, opened up a new world of possibilities. There had been crossover albums like Graceland prior to Paul Simon’s statement but very few released by artists as huge and acclaimed. Simon wanted an album that switched moods and felt more like a play.

We have serious songs Graceland with tracks such as You Can Call Me Al. Humour and wit sits alongside topics such as divorce and personal strife. Paul Simon was not used to working with African rhythms and the way the instruments moved. It is very different to Western sounds and traditional instruments he was used to up until that point. If the new horizon pushed his songwriting forward, it was a little tricky for Simon to acclimatise and adapt. Simon admitted he was bad at writing politics and was not used to it. There are very few overtly political statements on Graceland but, if the songs themselves are not protest statements, the circumstances around its recording and the musicians used marks Graceland out as a political record. If Hearts and Bones was quite a tense or introspective record, Graceland sounds more buoyant and optimistic. A lot of artists would write an album like Graceland, aiming for it to be positive, and the language would be quite simple. The wordplay, images and expressions on the songs is amazing. I feel Graceland is Paul Simon at his sharpest, most poetic and rich. You are transported into these songs and walk alongside Simon. The music is dizzying and fantastically alive; the performances are so compelling and every song has its own identity – even though everything hangs together and sounds perfect alongside one another.

Some songs were quite quick to put together but, due to the complex language Simon was using, some tracks took longer to gel. Simon maintained he was bad at political subjects in music but The Boy in the Bubble talks about terrorism whereas Homeless looks at poverty within the black majority of South Africa. Graceland was and is a bridge between races and cultures and, as such, transcends music itself. Artists such as Regina Spektor and Lorde have been inspired by Graceland and one can hear a lot of similar tones in the work of Vampire Weekend. Simon recalls the Graceland period as one of the most important of his life: the friendships he made and performing on the stage with South African musicians.

IN THIS PHOTO: Miriam Makeba and Paul Simon/PHOTO CREDIT: Luise Gubb

Reviews were universally positive and Graceland marked a return to form for Paul Simon. Not only did critics and fans respect the boldness and originality of the music but the consistency of the music. More upbeat and emotionally diverse than previous albums, Graceland was a huge hit and is, as I say, regarded as one of the finest albums ever. AllMusic, in this review, give their impressions:

“It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they'd never heard before that nevertheless sounded familiar…

As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock & roll while marking a surprising new lyrical approach (presaged on some songs on Hearts and Bones); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic ("Diamonds on the Soles of Her Shoes"), abstract ("The Boy in the Bubble"), and satiric ("I Know What I Know") portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, Graceland became the standard against which subsequent musical experiments by major artists were measured”.

When reviewing the 25th Anniversary version of Graceland, Pitchfork talked about musicians like Ray Phiri (a South African Jazz and Mbaqanga artist) being given a voice and face because of Graceland:

“Ray Phiri describes a meeting he was called to in London with African National Congress officials while touring to support the album that speaks volumes. The ANC officials told Phiri that he was violating the boycott and had to go home, and his response was that he was already a victim of apartheid, and to force him to go home would make him a victim twice. In the end, Simon's assertion that Graceland helped put an emotional, human face on black South Africans for millions of people around the world doesn't seem off the mark…

This set also comes with a DVD of the concert Simon and these musicians played with South African exiles Hugh Masekela and Miriam Makeba in Harare, Zimbabwe, in 1987, and the joy visible on stage and in the audience certainly speaks to that.

It's easy to overstate what Graceland was. It wasn't the first world-music album, as some critics claim. But it was unique in its total, and totally natural, synthesis of musical strains that turned out to be not nearly as different from each other as its listeners might have expected, and the result resonated strongly around the world and across generations”.

The music on Graceland is timeless and inspiring new generations but it is clear that many still look at the controversy surrounding the record. This article from 2012 reflects Simon’s comments and impressions at the Sundance Festival in London (26th April). He spoke about going to South Africa and whether, if he were making the album again, he would do the same things:

“But nobody did come to me so I was basically unaware of what was going on, I think perhaps people in the UK were more aware of the cultural boycott, we were not aware. I was aware enough not to play in Sun City with Simon And Garfunkel, but, let me point out the difference. Going to South Africa to perform in front of a segregated audience is to support the Apartheid regime…

Going to perform, I mean you could go to perform with South African musicians and if the audience were integrated I think that would have been fine, but that was not the case. Going to record is not the same thing. And it was never specifically declared to be something that shouldn’t be done.

However, Simon admitted that if he had ever been advised not to go and record in South Africa, he would likely not have done it. “Had somebody said to me ‘look we really don’t want you to go there’ I doubt that I would have gone. The only thing I can say in all honesty is that I did not vigorously pursue somebody telling me not to go. I went with the answer that I was hoping to hear which was ‘yes come, yes come and play with us’. I think that that answer and that thought process was never accessed by the ANC. They didn’t confer with their own musicians. And when they went to play in Europe they said ‘go home’.”

One cannot ignore the turbulence in South Africa in the mid-1980s and how risky it was for Paul Simon to do what he did with Graceland. Despite the problems and tensions, the way Graceland broke walls and progressed conversation outweighs everything. Nearly thirty-three years after its release, Graceland continues to compel and act as this bold and  fascinating point in musical history.

Consequence of Sound, in this feature , talked about the positives and impact of Graceland:  

“This distinction is important, perhaps more so to Simon’s legacy and the lives of his collaborators than the record itself. Simon toured with South African musicians, something that not even a local had done. He brought their profound voices to the world, taking them out to far-flung countries and giving them the space to share their reality. Ladysmith Black Mambazo appeared with him on Saturday Night Live when they were completely unknown to much of America. While Simon started out seeking “the ecstasy of Africa,” parading as a celebrity seemingly unaffected by the political reality of the boycott, he left bound by and entangled in a brutal reality he never foresaw, tied inextricably to musicians who lived to tell the tale of Apartheid.

Though he might never have intended to, Simon carved a bridge between two cultures that don’t speak the same musical languages, yet are capable of speaking surprisingly similar political languages. Music never entirely exists outside of political realities, but luckily politics doesn’t exist in a world outside the influence of music either. Making Graceland was never as simple as Simon’s supposed pure artistic connection, nor was it as exclusively troublesome as others made it out to be. Though the decisions involved in producing the album are still worth analyzing, Graceland cross-pollinated beautiful music and artistic progression over troubled, choppy waters. Most importantly, the connection ceased to belong just to Simon — it became the world’s, linking together the oppressed, the politicians, the critics, the activists, and listeners. Music offers that powerful uniting force, particularly in times of struggle, giving the opportunity for each and every person who listens to build their own bridge rather than watch as the undercurrents of political and social upheaval wash life away”.

The Independent ran a feature that asked musicians about their memories of Graceland and when they first heard the album:

“Regina Spektor

The first time I ever heard Graceland was in the halls at uni when I did my study abroad from New York and went to Middlesex University in Tottenham, London. A friend gave me a copy right before I left and I got little speakers at Argos and would blast my CD Walkman in my dorm. It instantly opened my mind – it sounded like nothing I'd heard before – the layers of hand-drumming and cool percussion and his voice made for a very specific world. It made me think of islands. It had this built-in joy and bounce. I really loved it.

Ed Nash, Bombay Bicycle Club

I first heard Graceland when I was 15 years old. I was on a school trip and one of my friends had it on their CD player and I borrowed it off him for the whole trip and listened to it the whole time. It kind of blew me away. Before that point in my life I hadn't listened to much music apart from pretty normal guitar music, and there were so many different influences that Graceland had – I hadn't experienced the wild musical style on that album before. With Bombay Bicycle Club we do something different like [Paul Simon] did with Graceland; we have a lot of very different influences, especially on the last album, with Afrobeat in the rhythm and [the style of] guitar-playing that's on Graceland the whole way through”.

Graceland is an essential album to buy on vinyl and experience in all its glory! We can talk about the politics around the record and how Paul Simon helped change attitudes but the music alone is worth the price of admission. There are articles that reveals secrets and facts of Graceland and aim to introduce it to new generations. It is a record that will continue to pick up new support and appreciation. If I was pushed to pick the best songs from Graceland I would go for The Boy in the Bubble, Graceland and Under African Skies. There are so many standouts and wonderful moments that only get stronger with age and affection. I love the record and have it on vinyl. I listen to it a lot and it only seems to become more receptive, open and revealing with every spin. If you have not heard the album before – or for a long while – then make sure you pick it up. Paul Simon is one of the greatest songwriters ever and, in a busy and varied career, Graceland sits at the top of the pile. It is a true masterpiece that gave new lease and purpose to Simon. There were doubts he would be able to revive his career and regain his critical acclaim; Graceland was a bolt from the blue and seemed to fall from the heavens. Whenever Graceland came into your life and whatever songs stand aside, I think we can all agree that it is a record that is…

IN THIS PHOTO: Paul Simon on stage with Ladysmith Black Mambazo/PHOTO CREDIT: Luise Gubb

TRULY unique and divine.     

FEATURE: 21st Century Breakdown: Green Day’s Last of the American Girls: The Punk Band’s Celebration of Rebel Girls…Without the Girls?

FEATURE:

 

 

21st Century Breakdown: Green Day’s Last of the American Girls

IMAGE CREDIT: @GreenDay/Frank Caruso 

The Punk Band’s Celebration of Rebel Girls…Without the Girls?

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IT is always great seeing musicians venture into new territory...

Rebel girls unite 👊 our book w/ Frank Caruso, LAST OF THE AMERICAN GIRLS, is coming out on 10/29 💥 Pre-order your copy https://t.co/3QJd27QrLn pic.twitter.com/UlfXKRFiWj

— Green Day (@GreenDay) April 2, 2019

but, in the case of Green Day, their debut literary/graphic novel outing has led to division. On 29th October, Green Day bring out Last of the American Girls. From its cover, you can see it is a celebration of the riot girls and all-American warriors. This article talks about some of the issues that have arisen.

“Written by bandmates Billie Joe Armstrong, Mike Dirnt and Tré Cool, it marks their debut book. However, the trio’s choice of male illustrator in Frank Caruso to bring the picture book to life is being scrutinized.

While many are echoing these sentiments, fans have come to the defense of the band, saying that the book doesn’t act as a how-to guide for women to live, but rather an illustrated version of the 21st Century Breakdown track”.

Green Day have stated how the book (I shall refer to it as such although it is a graphic novel) is an illustration of their song, Last of the American Girls, rather than an instruction manual telling women how to live their lives. Social media has been divided regarding Green Day and their intentions. We have not been treated to many extracts and content but the fact that the band hired a male illustrator to design the images has left many angry. One can ask them whether they consulted any female illustrators or whether Caruoso is a close friend of theirs. In any case, there has been this debate raging.

It is, essentially, an illustration of a song; a sort of musical graphic novel as opposed anything regarding telling women how to act. I do think that it is good there is a book out in the world like this and the fact that the band produced it should not be dismissed. Some ask whether a male Punk band are the right people to discuss feminist, empowerment and strong female role models. I think it is encouraging when anyone talks about these themes and we should not really overlook Green Day or question their motives. Even though Green Day did not want to patronise or mansplain anything, they have talked about the book being relevant in these times; a celebration of female empowerment and a celebration. Laura Snapes wrote an article for The Guardian regarding Green Day’s book and whether they were quite the right people to take on the job:

“You can’t help but wonder if Green Day thought this through. Surely no self-respecting rebellious woman would buy a book about “female empowerment” by three washed-up punks. If only songwriter Billie Joe Armstrong could portray women as anything other than a random assembly of rabble-rousing tropes, including wearing makeup that looks “like graffiti on the walls of the heartland”, digging conspiracy theories and owning vinyl.

Armstrong’s manic punky dream girl is the nadir of publishing’s obsession with rebellious women. As the trend has proliferated, so the sharp edges of the women whose lives they document have been sanded down into vaguely aspirational #girlboss dross. It is also the nadir of Armstrong’s songwriting…

IMAGE CREDIT: Chris Bilheimer  

Although Green Day are not as progressive as some bands, they are not exactly misogynists. You cannot accuse them of lacking empathy and being against female empowerment. Their music has cast women in the role of the seduced and aroused but that is not equitable to them being sexist or boorish. Snapes looked at Green Day’s changing lyrical voice and whether this contradicted their aims regarding Last of the American Girls:

“Green Day’s early work was surprisingly progressive, and rarely – especially for US pop-punk – overtly misogynist. But in recent years, fetishising, contemptuous and paternalistic language has soiled Armstrong’s lyrics: irresistible women tease him with their devilish ways; the titular figure from 2012’s Drama Queen is “old enough to bleed now”, and the video to that year’s Oh Love is inexplicably filled with barely clothed models”.

 I take issue with a number of things Snapes addressed. I do not think Green Day are washed up and, if they were, whether that would be relevant. One would not call Patti Smith washed up if she were to write a book like this. Green Day have not been making albums on the same level as Dookie and Nimrod lately but that is a natural career decline. They cannot be expected to keep on that level, considering Pop-Punk has changed and they have matured. It is unfair to attack their commercial standing and assume that a younger, fresher band should write such a book…

boys i love u with all of my heart and would happily take SEVERAL bullets for you but dont you think the main ''rule'' to being an independent woman in punk should be to, well, not be told how to live their lives by men who have no experience in what its like to live as a woman??

— lina (@wedrovenorth) April 2, 2019

A lot of the response comments to the article focused on the fact that, whatever happens, they cannot win. Should men avoid tackling empowerment and feminism because they are men and it is not their fight? Should women only be the ones writing about it and, if men do contribute, is their popularity and relevance important? The book is a bit of fun and Green Day are entitled to write about subjects such as strong women and empowerment. They are not women, sure, but that is not to say they lack understanding and a progressive attitude. Regardless of what some of their songs portray, to suggest they are insincere and inauthentic is a bit of an insult. I love Green Day’s music and, whilst they are not as progressive and positive regarding women as they could be, they are not exactly your belching and sexist band who is demeaning women at every turn! They are also not denying a female band from penning their own book. Rather than being motivated by greed or wanting to jump on a bandwagon, Green Day are coming at this from a good place. Of course men can and should write about female empowerment and, rather than talk about the right of men to do this, we should be looking at the quality and depth of the writing.

 IN THIS PHOTO: Green Day/PHOTO CREDIT: Nigel Crane/Redferns

Are the illustrations going to be quite sexist or too sexy? Is the storyline, such as it is, sticking close to the Last of the American Girls song (from 21st Century Breakdown). Are going to get a male’s-eye view of strong women and something that puts physical assets about spirit and emotional strength? Maybe women would be more sensitive and knowledgeable regarding the correct approach but there is a lot of condemnation and anger at Green Day’s feet before we have even seen the book. The only thing that I do agree with is the lack of female participation. I am not saying the band should have employed all women to illustrate and market their book but maybe hiring a female illustrator would at least give the designs and visual aspect greater reality and a different perspective. There is always going to be concerned reaction when men write about female empowerment without considering women in their team. I do think the argument is quite complex but, essentially, Green Day should have thought a little harder when it came to their illustrator and how some might perceive the decision to hire a man. Frank Caruso is a wonderful talent but how about the boys scouting graphic novels and books and looking for a female illustrator who would have, at least, helped diffuse some of the tension. Some questions Green Day’s motive and whether it is purely commercial. If they were short of a few dollars then they could have re-released all their material on vinyl or done a simple cash-in.

 PHOTO CREDIT: @timothypaulsmith_436580_sink/Unsplash

There are countless ways the band could have got some money in – one feels something like Last of the American Girls is a bit of a roundabout way of pulling in some bucks! When it comes to throwing a middle finger to politicians and kicking up a storm, Green Day are pretty good at it. They might not be as convincing and potent as Punk bands like Ramones and Sex Pistols but they have inspired a generation and released some truly fantastic albums. I do feel that their intentions are good and, at a time when there is a lot of sexism, we are not seeing many men respond. Surely it is a good a male band, any band, is doing this. What does it matter whether they are young, profitable and hip? Their current status and appeal is nothing to do with their promise as authors. I do feel Green Day’s experience and reputation means they will shift a lot more copies than if a younger band were spreadheading. They have been on the block for decades and I do feel like their first real outing into the literary world will be a success.  It is, as I say, all down to quality. Peel away all the other crap and insults and you need to judge something like Last of the American Girls on its substance and quality. If it appears like a book written by a committee or seems like a very lacklustre thing then people have the right to complain. I think it is great a male band want to celebrate female empowerment and involve themselves in the conversation.

 IMAGE CREDIT: Pinterest

In spite of what some rather dismissive journalists have written, one must judge Green Day on the material itself. The story and writing has to be sharp and true. If they infantilise or overly-sexualise women then that fights against what they are trying to represent. It is hard to get right but the band need to make sure what they have written sounds like it is coming from a female voice in a way. Some fear Green Day have written this rather condescending guide regarding women and how they should act. I do not think this is the case. I do hope that Last of the American Girls is an affectionate and respectful nod to strong women and rebel girls who want to kick ass. If it is done seriously and the band treats the subject matter with care then it will be a success. I feel a lot of people are worried it might be too cartoon-like or insincere. The dreaded impression of Green Day illustration generously-proportioned heroines who spout clichés and are seen as very one-dimensional, I guess, is a real worry. I know they have treated the subject with care and respect so, in a couple of weeks, we will get to see whether all the division that we’re hearing leads to positive reaction to Last of the American Girls. I think very few men are writing about female empowerment and that sort of thing so, surely, Green Day’s new foray is a good move that could lead to other male acts/musicians doing the same?!

 IMAGE CREDIT: Frank Maddocks

Those who state that Green Day have slipped on a banana skin by not employing any women does hold some weight. I have not seen as the credits for the book but I doubt there are many, if any, women on the publishing team or helping to promote the book. The fact that there is a male illustrator on the cover is the biggest sticking point – one I cannot really defend. The band had their reasons for hiring Caruso and it is not his fault at all. I do feel like it would have given Last of the American Girls a different voice and narrative if a woman had been chosen to illustrate. Maybe that was a mistake on their part but many people have been unkind towards the band, feeling they are ignoring women and blind to the irony. I do think that there needed to be women involved with the book but that is not the same as Green Day being ignorant and sexist. Men should be allowed to write about female icons and rebellious heroines. If we start questioning this sort of thing then surely it is holding back progress rather than helping to accelerate it? I do feel people need to give them a break on that front and, as I keep saying, judge Last of the American Girls on its words and quality. Away from their new literary venture, Green Day have been pretty busy. NME take up the story:

“Meanwhile, Armstrong recently confirmed that he was at work on writing songs for the next Green Day album. This comes amid speculation of an anniversary tour in 2019, after the band revealed that they had been rehearsing classic albums ‘Dookie’ and ‘Insomniac’ in full.

The band are also working on a movie adaptation of their now seminal album ‘American Idiot‘”.

PHOTO CREDIT: Getty Images/Press

There is always going to be a certain amount of flack and criticism from journalists and social media when big artists take on something like this. I do wonder whether someone like Paul McCartney would have got anger aimed at him if he wanted to write a novel about a powerful female musician from the 1960s. I refute Laura Snapes’ line regarding Green Day’s purpose and relevance regarding being spokespeople for female independence. It has been years since they were riding the commercial wave and at the top of the tree but what does that have to do with literature and something non-musical? This is something completely fresh and, again, if a more current and popular artist had tried to write their version of Last of the American Girls then would they be subjected to the same sort of reaction?! I cannot reconcile the lack of female inclusion on the work and do feel they missed a real opportunity having a female illustrator. It shouldn’t dent the appeal of Last of the American Girls but I think the band, if they do another edition, need to think about hiring women on their team. Regardless, I do think it is a good step for the band to take and their hearts are in the right place. Rather than judge them and question their motivation, go out and get Last of the American Girls and judge it on its literary merits. If they can win the people over in that respect then they could open the door for many other men in music to…

 PHOTO CREDIT: @seteales/Unsplash

FOLLOW the same path.   

FEATURE: The April Playlist: Vol. 1: Orange Trees for a Hungry Child

FEATURE:

 

The April Playlist

IN THIS PHOTO: MARINA 

Vol. 1: Orange Trees for a Hungry Child

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THIS is a week where some big releases…

IN THIS PHOTO: Hot Chip

have come in and will provide the weekend with a nice kick! Not only has MARINA released her album, LOVE, but there is new material from Solange, Hot Chip; Billie Marten and The National. It is a busy week for music so, to honour that, I have included the best of the releases into the latest Playlist. Make sure you have a listen at the rundown and investigate everything that has come about – an eclectic and interesting assortment of songs. I wonder whether we will see April continue this pace or whether it will quieten down a little next week. We will see but, for now, there is more than enough to get your teeth into! Take a dive into these songs and I am sure you will agree that they are pretty epic. If you need a nice little boost to get your weekend off to a great start then you need to…

IN THIS PHOTO: Solange

START here.  

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

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MARINA – Orange Trees

Solange – Beltway

Hot Chip – Hungry Child

Peter Doherty & The Puta Madres - Paradise Is Under Your Nose

Billie Marten – Cartoon People

IN THIS PHOTO: Alison Mosshart/PHOTO CREDIT: Emily Korn Photography

Mini Mansions (ft. Alison Mosshart) - Hey Lover

Billie Eilish – bad guy

Vampire Weekend – This Life

PHOTO CREDIT: MTV UK

Sam Fender – Hypersonic Missiles

Reba McEntire – Storm in a Shot Glass

IN THIS PHOTO: Ezra Collective

Ezra Collective (ft. Loyle Carner) - What Am I to Do?

Rozi Plain – Swing Shut

Amber Mark – Mixer

The National – Light Years

Luke Sital-Singh – I Do

MAC DEMARCO - ALL OF OUR YESTERDAYS

PHOTO CREDIT: Kathryn Vetter Miller for MOJO

Weyes Blood – Wild Time

The Ninth Wave – Used to Be Yours

IN THIS PHOTO: Anderson .Paak

Anderson . Paak (ft. Smokey Robinson) – Make It Better

IN THIS PHOTO: Jennifer Lopez

Jennifer Lopez (ft. French Montana) - Medicine

PUP – Morbid Stuff 

IN THIS PHOTO: Ariana Grande

Ariana Grande and Victoria Monét - MONOPOLY

Snoh Aalegra - You

Khalid – Free Spirit

Alison Wonderland – Peace

Loren Gray – Options

PHOTO CREDIT: Dara Munnis

Tash Sultana – Can’t Buy Happiness

Circa Waves – The Way We Say Goodbye

Orla Gartland – Flatline

Jasmine Thompson – some people

Paloma Faith – I’ve Gotta Be Me

Rita Ora – Big Yellow Taxi (Recorded at Spotify Studios NY)

AURORA – The Seed

Tulisa – Daddy

Gia Woods – Keep on Coming

TRACK REVIEW: Sam Fender - Hypersonic Missiles

TRACK REVIEW:

 

Sam Fender

PHOTO CREDIT: Sophie Mayanne for CLASH

Hypersonic Missiles

9.5/10

The track, Hypersonic Missiles, is available via:

https://www.youtube.com/watch?v=WPsodKRs2SI

ORIGIN:

Newcastle, U.K.

GENRE:

Alternative-Rock

RELEASE DATE:

5th March, 2019

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I have talked about artists from the North East before...

so I will not cover that ground when referencing Sam Fender. I will touch on his roots but, when considering him, I think it is important to consider personality and his natural charm; critics’ choices and whether artists live up to that acclaim; male solo artists in general and the difference compared to females; natural songwriting talent and a sense of conviction off the bat; bringing Alternative Rock to the forefront and helping to revive that format for bands – I will end by seeing where Fender might head and how his future will pan out. I listen to so much music and, at the end of the day, I stick with very few artists. This is not a shot but, when it is so busy and bustling, what defines those who will remain and those who will fade away? I do find that, in musical terms, there are a lot of like-minded artists and that can make things very difficult. The distinguishing marker is, for me, their personality. How they stand out and remain in the mind. Sam Fender is someone who is very natural and does not force anything. He hails from Newcastle and does not try to be anyone he is not. One gets this very organic man who is open, funny and interesting and, in a landscape where it is hard to spot interesting people, Fender does stand out. I know there are artists who compel and grab you with their personalities – IDLES and Lizzo spring to mind – but there are not that many that really grab you. I wonder why this is. Maybe it is that magic combination but, with Sam Fender, you get this artist who is pure and compels with his humour and intellect. Maybe it comes down to where he comes from and the fact there is no need for pretence. There are so many artists who put on an act or seem very boring and distant. That is fine but, when it comes to artists who remain and stay in the mind, there needs to be something extra.   

In the case of Sam Fender, we have someone who comes across as very friendly and has no barriers. I have heard interviews he has given and he always seems very chipper and honest. There is no need to be guarded in his case because Fender wants people to know the real him and no hide. You do get artists who are always wary of what they say and come across as too cautious and safe. Fender has that natural sense of fun and playfulness but he is always compelling in interviews. In his music, he addresses everything from toxic masculinity to mental-health. Alongside other artists like IDLES, Fender is keen to tackle these subjects and provide something substantial. In this interview with NME, Fender discusses the themes and his experiences growing up:

“I remember specifically for me as a kid growing up or as a young teenager if I ever cried or got upset in front of anybody, I would be so humiliated. I’d be so angry with myself for being upset and then it would just become this catch 22 situation. It’s that attitude that stops men from talking and stops men from being like able to turn to each other. Me and my mates are very, very close. We all talk about our problems – especially as we’ve got older. But I don’t think a lot of people have that. Men just need to be open and not emasculate one another”.

It is a difficult time for all of us because of political splits and the fact there is so much crap happening. It is up to musicians to address realities and dig deep. Fender is important because he has a very approachable demeanour and, at the same time, discusses meatier themes through the music. This is the sort of artist we should be encouraging right now. I either find artists can be rather boring or unengaging or they do not do anything special with their music. I shall move on now but, if you want to get a better sense of Fender as a very warm and receptive artist, have a look at interviews online and see what I mean!

Sam Fender attended this year’s BRIT Awards but did not really need to worry. He had already won their Critics’ Choice gong and quite right too! It must be great attending an award show and knowing that you already have one in the bag. I watched bits of the ceremony but I recall Jack Whitehall (the host on the night) interviewing Fender and it being a rather laidback chat. The story goes that when Fender found out about the award he was in a car and got a call through. He then went to his manager’s house where he projectile vomited on the garden. Whether there was alcohol involved or it was the pure excitement of the moment I am not sure. When speaking with Billboard last month, Fender addressed the BRIT win and how it has changed things:

“It's nuts. [My] following on Instagram just shot up thousands the other day. That was insanity. All the gigs are instantly bigger. We're playing 2,000 cap venues and stuff, which is nuts compared to when we were only doing a hundred half a year ago. It's happened very quick. Just the interactions being mental. What always will be weird is kids asking for photos. I just had three there outside the bus and I was just like, this is surreal. The fans over here are really incredible. Especially when it's not your city. And the following is so mixed as well. You've got all the really young teenagers at the front and then the older teenagers slightly back, then it's [people in their] '20s and '30s and then '40s. And in the back I've seen some people attend and be like, "I'm 70 and I fucking love your tunes." And I'm like, this is so good. It's amazing because it's really nice to see such a mad mass of people. I'm just going to keep on writing songs that matter if I can”.

There will be many more awards coming the way of Sam Fender but I like that he has been humbled and moved by the win.

 PHOTO CREDIT: MTV UK

It was a deserved win and one that will give him a booster. There is an album coming this summer, as I shall explain, and it is a busy time for Fender. There is always this debate whether artists marked out by critics are worth the plaudits. Look at the BBC and their annual ‘Sound of…’ and how artists who have won that fare. I always do feel that it is a bit dangerous following too closely to what various sites say. In the case of the BBC, they have picked some good artists through the years but they are not always spot-on. Fender was long-listed in 2018 and, to be fair, Sigrid, Jade Bird and Billie Eilish were also included. The most popular and appealing artists on the longlist – including Fender and Eilish – were not in the shortlist and, this year, there are some artists you know will do alright and those who might fade away. I know lists like this should be taken with a pinch of salt but I do wonder whether artists like Fender get overlooked. He should have been in the forefront of the BBC’s mind for this year’s essential sounds and, compared to artists like slowthai and Octavian (who were in the shortlist), I feel he has advantages. One of the past problems with critics’ choice rundowns is the nature of the artists included. There were a lot of male songwriters with a rather dull and commercial sound; too many artists who were comfortably primed for the charts and offered nothing in the way of depth and interest. I do think the BBC has strengthened in this respect but I do wonder whether a lot of the winners/nominated artists live up to their promise. The same can be said of the BRITs. Fender has that expectation and pressure now but last year’s winner was Jorja Smith – she has gone onto great things and looks set to be a big name indeed. Fender has a level head and confidence that means he will live up to the celebration and be one of those artists who thoroughly warrants the complete love and faith of the critics.

I have always marked female artists and highlighted them but I do think there are some male artists coming through worth looking out for. One of the problems with male artists is what they are writing about and the effect they have. I do find the best and most striking work of 2019 is from women. Maybe it is the fact many are being open with their music and tackling big themes that means they are standing out. I do think female artists in general are standing out and creating bigger waves. Maybe, too, male bands are more common than male solo artists or have greater scope. I referred to Sam Fender and how he has discussed mental-health and toxic masculinity in his music. Other bands are doing this but, in 2019, I feel it is vital as many people as possible step away from the commercial and love-based and get more serious. I often get this impression of the modern male solo artist and they are usually wearing a hat, strumming a guitar and talking about their love lives. Maybe this is unfair but I think a lot of the most interesting work is coming away from the mainstream and genres like Pop. Fender is an artist who can and will discuss his private life but he realises what an important platform he has. I often think about the deeper themes in music and who covers them. Maybe Hip-Hop, Grime and Rap are a bit more conscientious in that respect but, in 2019, many artists outside of these genres have been penning something rawer and revealing. I keep name-checking the likes of Julia Jacklin and  Little Simz – part of this female revolution; artists releasing material of the highest order. Male artists are doing this too but I always feel like female artists are more conscious and bold regarding subject matter. Sam Fender could easily do what many expect of him: write about booze, girls and success and not really deliver anything with much depth and resonance. Maybe we all have a narrow view of what the male solo artist is and should be.

To be fair, when it comes to the mainstream, a certain type of male artist is fostered. You will always find something more interesting and promising outside of that realm and on the outskirts. Maybe the female dominance will continue – I hope so – but there are great male artists like Fender who are peaking my interest. I do think there are a lot of male artists who use acoustic guitar or are electronic. It is quite rare to see a solo act with an electric guitar whose music has a real sense of grit and meaning. I do think Sam Fender can change the tide and take attention away from the softer and less impactful male solo artists. I am interested to see how far Fender can go and what his future holds. He definitely has his head screwed on and is not getting carried away. One would forgive the man for having a bit of swagger and confidence but Fender is down-to-earth and grounded. There is no sense of arrogance and boastfulness when you hear him talk. His Dead Boys EP was released last year and showed what he was made of. There is more material coming and, with each step, there is this rise in confidence and ability. Fender is getting out there and performing and all of this feeds right back into his music. I have been worried about Rock and whether it is slowly disappearing. Consider years past when we had a load of bands that were producing this very physical and anthemic sound. Now, we have Post-Punk artists but not that many great Rock artists that summon memories of the past. I appreciate modern music is very diverse but it seems electric guitars are not as potent and needed as once was. Aside from the odd band/artist, other instruments and sounds are being used. Fender has this very solid and electric sound that makes me hope we see more artists pick up the guitar. I have nothing against acoustic guitar and synths but I do long for something grittier and more rousing in modern music.

 PHOTO CREDIT: PHOENIX Magazine

Before I get to reviewing Fender’s latest track, Hypersonic Missiles, I wanted to stay with this theme regarding sound and authenticity. I do like the fact Fender is able to cast his net and look at societal ills, unlovable types and tougher issues. In this interview he discussed his track, Poundshop Kardashians, and what it was all about:

“Plastic action men being like, ya Georgie Shore types, pound shop Kardashians being budget Kardashians. That’s what I’m talking about, I’m being a prick about ‘em. There’s a line later on where I say, ‘we idolize idiots, masturbate over sex tapes, we love them and we hate them and wanna see them fall’. But it’s kinda in this weird state where people are famous for the sake of being famous, like what are they famous for? They’re famous for being famous, it’s a very strange thing, it is what it is. I’ve got nothing against ’em! Got nought against the Kardashians, I do think there’s a lot of, like, kids idolizing these pumped up deities, and it does make me think what’s the drive to do anything, what’s the example it gives to kids? All my roles models were either really talented musicians or they were wicked at football, they were good at something! [Musically] I’m not really talking about answers, I’m just asking questions, what effect does that have on a kid growing up? I dunno. I’m not smart enough to change a thing”.

Like Alex Turner of Arctic Monkeys, here is a lyricist who can pick from the streets and the people around him but also look at social issues and wider themes. There is a lack of love songs but, seeing as the scene is packed with artists writing about that, is there a big need for someone like Fender to follow suit?

“I just haven’t released a love song yet, that’s all. People are kind of obsessed about this, ‘he doesn’t write love songs, oooh’, but I just haven’t released one! I find that, as a starting artist, it’s not gonna set me aside from anyone else on the planet, it’s a very saturated thing. And to write a good love song is f****** hard. We need love songs, of course we do. I’ve got some love songs in there that are coming out, so we’ll see”.

As he revealed in the interview with Bitter Sweet Symphonies, there is so much to his work. I have mentioned Fender having this great guitar sound but, as a live performer, there are a lot of different aspects to be found:

“Um, it’s not just an indie band, not just a singer songwriter, there’s a lot of things in between, a lot of little touches, I’ll play some solo stuff on the piano then do stuff that’s really thrashy. I think it’s a very mixed show in sonic terms, quite a jumbled up set. I hate that when you see bands where everything’s exactly the same, so it’s got a lot of different flavors, caters for a wide audience, and it’s sad and loud”.

I know Hypersonic Missiles has been out for a couple of week but I have not had chance to review it until now. The cool-looking, rather basic video for the song has a sort of D.I.Y. charm that gives the song extra gravity and boost. There seems to be a lack of trust and unrest when you hear Fender sing. He keeps his voice level and direct without the need to shout and deviate. Backed by firm and driving guitar and a percussion heartbeat, the hero addressed a sense of disconnect and confusion. He is feeding the corporate machine and watching films; reciting its line and living with wool over his eyes. At this early stage, you get the feeling that there is this aspect of propaganda, fake news and media control. Whether he is talking about American lies and ideals that are fed to us through films and the news, you are gripped by the song and its meanings. I sort of feel like there is this young man who wants truth and guidance but is being fed all these lies and messages. Maybe there is an ideal and ‘perfect vision’ of what the world is and how things are panning out. There are tensions rising and anger around whilst the hero seems to be out of it – he is quite numb to a lot of things and seems to be out of the loop. The video helps give context because we see images of those on the Internet and a man being arrested; a variety of scenes that show people disconnected from the world. In one scene, there is a man wearing a virtual reality headset and, the more I hear Hypersonic Missiles, the more I think the nature of engagement and how we interact is at the forefront. Fender is addressing all of this and looking around. It is high time for hypersonic missiles he says and there seems to be this fatigue regarding lies and the way the world is being run.

The video shows people on webcams and lovers kissing; Fender cycling down a street and a feeling that there is hope. We get a contrast of scenes. From desolation and isolation to the purity of lying in the sun and being in love – maybe some things are going to crap but there is simplicity and purity to be found. Fender realises that the world is heading in the wrong direction but the hero will give his everything. Maybe he is speaking to a lover or friend when he talks about faith and devotion. Fender is not pessimistic and glum but, instead, there is a pragmatic view that many of us share. He watches the T.V. and film; he sees the way politicians lie and cheat and he is growing weary. One feels like he wouldn’t mind something ballistic to reign down and sort it all out. Rather than destruction and wiping people out, I get the feeling Fender just wants change and some truth. His voice has gravel and power but there is a sense of passion and vulnerability as well. There are not many singers who have these blends and I think it gives songs like Hypersonic Missiles an edge. The song does not have too much compositional pressure. We have the drum and guitar working away that gives the song its sense of anger and movement. I listened to the track a few times to get to the bottom of it. The first time around, you get a sense of what Fender is saying but you might need to come back a few times. The song ramps up and gets hotter as it goes towards the end. It is almost Bruce Springsteen-like when you hear horns come in and blare. At its heart, Hypersonic Missiles is about togetherness and trying to pull through. People in power do not have our interest at hearts. It is the common people and those out there in the real world who have the greatest power and influence. The silver suits and “cartoon tongues” that rule Fender’s world are causing distress and feeding lies. It is an experience we all have and our hero wants an end to it. There is this pining for change and revolution. Fender’s emphatic voice makes the words strike and stand out. He has this clear passion and, when you listen to any of his songs, you buy every world and dive into the music. Few artists can do that so easily so, if you are not familiar with Sam Fender, then make sure you check him out. All of his tracks are different and he has not really put a foot wrong so far. This all bodes well and I can see Fender recording quite a few albums in his time. The man has plenty of might and talent and it is great having him in the music world!

Fender is a busy man right now and will be touring around Europe for a few months at least. Look at his social media feeds and you can keep up with Fender’s movements. I am glad there is a lot of attention coming his way and the northern star is growing in stature. As this article from Rolling Stone highlights, there are not many chart acts writing their own music at the moment. Look at the Pop acts around and what is popular in the mainstream and how many of these acts actually write their own stuff? I do think we need to promote those artists who pen their own music because it is much more meaningful and personable. If you have musicians singing someone else’s words then does that create as big a hit compared to someone who is controlling their own music? Make sure you catch Fender on the road and see his fantastic live set. There is an album coming in the summer and I am sure there will be big U.S. date approaching. It seems like Fender has the world at his feet and he can do no wrong. It is quite rare to find a solo artist who writes their own stuff and brings in something electric and direct. I do think he has a golden future because there is no ego and agenda. Fender is always very engaging and interesting in interviews and he is a songwriter that does not shy away from harder subjects. He is opening eyes and minds but not doing it in a very heavy way. Instead, you have this artist who can splice humour alongside pathos and create this wonderfully rich and substantial sound. I will round things off now and come to an end but I want to encourage people to investigate Sam Fender and what he is doing. These are still early days but the man has a long career ahead of him. There are a lot of dates coming up so I hope he gets chance to unwind and recharge at some point! Everyone wants to see him and there will be a lot of buzz around his debut solo album. Keep your eyes on Fender’s social media channels and watch him explode. I did mention how some critics pump up acts and it can be rather short-sighted. So many have been elevated and tipped and not really lived up to that promise. In the case of Sam Fender, he will fulfill these predictions and become a huge star. He, of course, has his feet planted but, before too long, he will be headlining festivals and rubbing shoulders with the greats. Rather than be arrogant about it, the young artist will be graceful and humble. In a world where we need honesty and someone we can rely on, Sam Fender is here to provide that comfort and…

STEELY guidance.

___________

Follow Sam Fender

 PHOTO CREDIT: Daria Mohammed for The Mind Map

Official:

https://www.samfender.com/

Twitter:

https://twitter.com/samfendermusic

Facebook:

https://www.facebook.com/samfendermusic/

Spotify:

https://open.spotify.com/artist/6zlR5ttMfMNmwf2lecU9Cc?si=U2FaayDcR8mO_ifhRuew7w

Instagram:

https://www.instagram.com/sam_fender/

YouTube:

https://www.youtube.com/channel/UCNOPATl0JcguaVn1ovKWU1w

ALL UNCREDITED PHOTOS:

Getty Images/Sam Fender

FEATURE: Hard Pressed to Explain It: The Decline of Drowned in Sound and Future Worries for Music Journalism

FEATURE:

 

 

Hard Pressed to Explain It

PHOTO CREDIT: @diklein/Unsplash 

The Decline of Drowned in Sound and Future Worries for Music Journalism

__________

THERE are a lot of messages on social media at the moment...

 PHOTO CREDIT: @thomholmes/Unsplash

mourning the end of Drowned in Sound. Whilst the site has faced some troubles before, it has survived and grown and, sadly, it is no longer. To be fair, not everything is disappearing but the Drowned in Sound we all know and love is unable to fight on. It’s founder, Sean Adams, posted this message to his Facebook page:

“As mentioned elsewhere, with a heavy heart, I have some professional news (or whatever the meme-cliche is for these kindsa posts). Like At the Drive-In's hiatus (rather than LCD's "retirement"), Drowned in Sound will not be commissioning new reviews or features for the foreseeable future.

Our forums will remain (thank you for all the donations).

We will publish some pieces and festival reviews that we've committed to on our Medium blog (subscribe for alerts), plus I'll continue to do some music recommendations on our Facebook, Twitter and Instagram. I'm also really enjoying doing the weekly recommendations via Facebook Messenger, so I'll continue doing that for the foreseeable future.

I'm writing a proper explanation about what and why soon, but for now I'd like to say a massive thank you to everyone who's been involved in making the site what it's been for the past 19 years. Special thanks to Derek Robertson who's kept things going in recent years, and Andrzej Łukowskiwho's not only looked after our reviews since being forced to make everyone redundant 11 years ago, but built a team of eloquent music fanatics.

I'm going to take make a few changes and take some time to get things stable again financially, and then attempt to do some special activity as we enter our 20th year next year.

Thanks again for reading, sharing, indulging, exploring, engaging, and everything else”.

 IMAGE CREDIT: @DrownedinSound

The site has been going since, pretty much, the turn of the century and has grown into this mighty and must-visit location for music lovers. There is no word whether the closure/downscaling will be permanent but financial struggles/demands have played a decisive factor. Whereas some music sites like NME are seeing an upturn in their fortunes – able to revive their printed format due to increased demand and success their way – I am seeing too much loss in music journalism. There has been this discussion and debate as to whether music journalism is in crisis and whether it will survive. The Guardian wrote an article last year that showed a healthier side to the industry:

“And yet, to walk into any major newsagent in 2018 is to be greeted by a dizzying array of titles – far more than there were when Melody Maker, NME and Sounds shipped hundreds of thousands of copies. Today’s circulations are lower, but there are magazines for every niche or genre, from Classic Rock to Blues & Soul to avant garde title The Wire.

“I’ve read thousands of words about the so-called ‘crisis in music journalism’, but your average punter would be hard-pressed to understand that,” says John Mulvey, who edits the 63,000-selling monthly Mojo, which celebrated its 300th issue last month. He argues that the ill-fated free NME was “a last attempt to court a general audience, as titles have realised that they are no longer mainstream but specialist publications”.

IMAGE CREDIT: @DrownedinSound 

Internet titles have been hit hard by a collapse in web advertising, following Facebook and Google’s greater ability to place advertisements right in front of any target audience – refined, by algorithms, to age, location, “likes”, music tastes and so on. “I’m constantly being shown ghost adverts saying, ‘All your readers could see this on Facebook if you pay us,’” says John Doran, co-founder of the Quietus. The esteemed left-field website recently turned 10 and attracts 400,000 monthly readers for coverage of acts from Guttersnipe to the Fall, but requires supporter donations and pays journalists when it can (many work gratis to assist what is seen as a noble cause). Doran admits that he and colleague Luke Turner are themselves “on less than minimum wage, forever five minutes from the dole. Today, I wouldn’t start a website. I’d start a free, bi-weekly, multi-genre paper, distributed in universities.”

Perhaps music journalism isn’t as central to young people’s lives like it was when information-starved fans waited patiently for the “inkies”, but now, with so much instant music and such sophisticated algorithms out there, perhaps the trusted navigators are needed more than ever. As L&Q’s Stubbs puts it: “Someone has to make sense of the noise”.

There does seem to be this split between smaller printed publications and Internet sites. Consider the fact that, largely, these printed editions cost something to buy and, if you sell enough copies and combine that with advertising revenue, then profit is easier to come by.

 PHOTO CREDIT: @jmvisuals/Unsplash

Internet sites like Drowned in Sound do not ask for a fee and people can browse as they like without having to pay anything. It cost money to go to gigs and review them; there are people who work for them who need paying and it is hard to find balance and success when you have to work with such tight margins. It does seem to be the case that the biggest advertising revenue is reserved for a very small sector. With a lot of new websites coming through, it is tough to survive when the main source of income is from advertisers. I have mused whether people should pay a subscription fee to view sites but, with so many out there, would this backfire? It is great that there are big websites out there where we can get our daily news and views and smaller ones that cater to niche tastes. I do think that there is plenty of choice but I would not wish anything bad for any of these sites. I do not think we should send the message that Internet sites will struggle because they operate for free. It is hard asking for money and getting funding from readers but, at the same time, how are sites like Drowned in Sound expected to put out great-quality stuff all of the time? With such competition around, sites have to get ambitious and put out more work which, inevitably, means the costs go up.  

 IMAGE CREDIT: @RollingStone

I am glad that not all music magazines are suffering and people are still willing to go out and pay for something cool. People put a lot of work into these editions so it is rewarding to see that this is being reciprocated by passionate and eager fans. There is something pleasing about buying a magazine and digesting it gradually over a cup of coffee! Most of us want our music sustenance on the move and, therefore, we look to the Internet. More and more, we are flicking between sites and doing it for free. I do not agree – as The Guardian suggests – that music journalism is in rude health and there is no crisis. Some publications and managing and building but many others have razor-thin margins whereas others are closing. Look online and I do wonder how many of the smaller sites will survive and continue to operate. A lot of the big names like Pitchfork do rake in quite a lot of advertising finance and I feel this is why NME has managed to keep going – and get its print edition back up and running. This Europavox article examines advertising revenue in the Internet age and the state of music journalism in 2019:

“For anyone harbouring optimistic thoughts about the future of journalism, it’s been a sobering start to the year. BuzzFeed and HuffPost, leading players whose viral content and revenue-per-click strategy were once considered groundbreaking, laid off over 1,000 employees, while Condé Nast, the media conglomerate that owns publications such as GQ, Vanity Fair, Wired, and Pitchfork, announced that by the end of the year all its titles will be behind paywalls. For sites and publications lacking in cred or venture capital millions, things are even bleaker; newsrooms and staff positions across Europe and the US have been decimated, with 2018 being the worst year for media redundancies since 2009.

PHOTO CREDIT: Alamy  

Legendary titles that used to shift upwards of 250 000 copies a week have either disappeared altogether or have been forced to re-invent themselves; the iconic NME became a free weekly in 2015 before abandoning print altogether to focus on NME.com. The situation is just as grim for publications that were born on the web and never embraced print; with Google and Facebook tightening their grip on digital advertising revenue – by 2020 they’re expected to take more than half of global ad spending – the likes of The Quietus and Drowned In Sound struggle to survive, frequently relying on supporter donations and funding drives”.

Many say that it is sad that sites are closing and there are issues but, in this age, do we need music journalists? Many are giving us opinions when we can make our own. One can easily download and access anything without any hesitation and many do not have time to sit down and look at long articles and reviews. The fact is that music journalism is more complex and broad than mere criticism and opinions. There are vibrant articles and suggestions – music venues to visit and classic albums to check out – and so much one cannot get idly surfing the Internet. Many reviews are providing background and balance; information that has a professional perspective and insight that many do not possess. To write off music journalists are irrelevant and pointless displays an ignorance of what we do and how important websites like Drowned in Sound are to artists both new and established.

PHOTO CREDIT: @curiousbino/Unsplash

The article continues and argues why we need to keep music journalism alive:

“The formats may change – are changing – but music needs a vibrant, diverse, independent press to champion what the mainstream won’t – or can’t –, to be honest and fearless in its approach, and act as a catalyst for debate. Over the coming weeks and months, we’ll be running a series of articles looking at the above issues in depth, drawing on the experience of writers, editors, and websites from across Europe. Journalists’ role as curators, Big Data, AI, and algorithms, and sustainable business models are just some of the topics we’ll explore, all of which are, of course, relevant to Europavox.com and our ongoing project. We believe music journalism continues to be important, and are invested in its survival; we hope you are too”.

I do think that money is a big sticking point and, when we shut down sites and magazines, we are denying the world something wonderful and passionate; many lose their jobs and this creates a bad impression regarding music journalists coming through. It is a great thing to do but if we see such loss and argue the only way to make a go of things is working for free, how attractive does that appear?! I would hate to see a day when the public make up their own minds and feel the music media is a product of a time that no longer exists.

 PHOTO CREDIT: @paul_/Unsplash

New artists rely on sites and magazines to break them and get the word out; bigger acts need those reviews and release albums so, naturally, it is nice they get some feedback and good words from those in the media. There is a lot of competition out there and there is no obvious answer when it comes to survival and how to ensure great websites stay afloat. There are plenty of articles (such as this) that argue the importance of music journalism and how those who criticise it need to redress their views. The passion out there is clear but, sadly, many work for free and do so tirelessly. The physical and emotional debt is huge and, if you want to go to gigs and produce content that will surpass rivals, cash needs to be injected regularly. It would be good to see some sort of government initiative that provided more money for music media and ensured lifelines to those in trouble. It is heartening to see some magazines succeed and other websites continue without issue but that does not mean music media in general is healthy and safe. In fact, there are a lot of sites barely managing and people like me who work for free and cannot afford to travel/go to gigs through lack of financing. I get the odd offer regarding advertising and finance but this comes from betting websites and, a) I never know if it is a scam and, b) the sort of money they will bring me is negligible.

 PHOTO CREDIT: @johnschno/Unsplash

I will end things here but I wanted to pay tribute to Drowned in Sound and I hope, down the line, they can be revived. The fact they have been going for so long means we need to preserve the site and understand how important they are to musicians and fans alike. It is impossible to say definitively whether music journalism is sustainable and solid right now as there is this split between online and print and the battle between the giants and everyone else. The fact so many sites have to rely on donations and appeals is really worrying but that is not to say one should overlook ambitions of becoming a music journalist. There are options out there and ways of getting advertisers interested in your site but, for a lot of those who have been around for years, it is tough competing and keeping afloat. Who knows what the next few years hold but I do know, the more people that come into the market, the less money there is for everyone. It is really tough to make a success of your website or magazine but don’t let that deter you. Musicians rely on the passion and dedication music journalists provide so I do hope money becomes available for music media in this country as it is tragic seeing beloved sites like Drowned in Sound struggle and have to downsize dramatically. As I said, I hope there is chance of resuscitation for them because losing them from the market after so long is…

 PHOTO CREDIT: @gaspanik/Unsplash

SUCH a crime!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Billie Marten 

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

__________

IT is hard coming up with a new introduction...

 IN THIS PHOTO: Noname

for each part of this feature but, as the weather is still pretty good, I thought it would be sage we had another female-led, spring-ready assortment to get you in the mood. I am excited for summer and warmer days but, right now, it is not too bad at all. I have been scouting the new tracks out there and have joined together a few of the best. If you need some awesome jams to get you through to the weekend, I have just the remedy! Have a listen to these great female/female-fronted tracks and let them do their work. The weather is meant to be pretty good today so that will put us all in a finer state. Let the tunes work their magic and I am certain there is something in the pack that…

IN THIS PHOTO: Hatchie/PHOTO CREDIT: Alex Wall

WILL peak your interest.

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

____________

Lizi Bailey – Who Am I

Riley Clemmons – Fighting for Me

PHOTO CREDIT: Kane Hibberd

Alex Lahey – Am I Doing It Right?

PHOTO CREDIT: Daniel Dorsa

Emily Reo – Strawberry

Billie Marten – Cartoon People

Clara Casey – Physical

Jordan Genovese – 100 Years

Ariana and the Rose – You Were Never My Boyfriend

Elinor Rose Dougall – Christina in Red

PHOTO CREDIT: Sophie Hur

Hatchie – Stay with Me

Amber-Simone – Only You

Rosie Lowe – Pharaoh (Edit)

Shunaji – Nighthawks

Gus Harvey – The Mirror

Lady Leshurr – I’ve Gotta Be Me

Baker Grace – Handcuffs

Orla Gartland – Flatline

Tash Sultana – Can’t Buy Happiness

Zoey Lily – I Wish I Had a Heart

BLACKPINK – Kick It

Daniella Mason – Deepest of Wells

Noname – Song 32 

PHOTO CREDIT: Charlie Woodward

Saltwater Sun – The Great Deceiver

Grace Lightman – Zero Impact

Amber Mark – Mixer

Molly Rainford – Long Run

INTERVIEW: Alessandro Ciminata

INTERVIEW:

Alessandro Ciminata

___________

MY final interview before the weekend...

is with Alessandro Ciminata. He discusses his new track, Kings, and explains its story. I ask when he got into music and the artists he followed; whether there is more music coming along and which rising artists we should get behind.

Ciminata reveals his gig plans and states which three albums are most important to him; the musician he would support on tour above everyone and how he relaxes outside of music – the songwriter selects a cool track to end the interview with.

____________

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

Hey, Sam! I’m good thank you! How are you? It’s been hectic so far; busy is good! Haha.

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

I’m a London-based singer-songwriter and solo artist. I do what I call ‘retro-tinged Indie-Pop’. I like to write songs that people can relate to. I was born and raised in Italy but London-based since 2012.

Kings is your new track. Is there a story behind the song?

There is a story behind it. We watched a documentary on Netflix about celebrities being addicted to social media and all of that. I love social networks; looking at my phone is probably the first thing I do when I wake up so I’m probably the worst example but have you ever tried not to look at your phone for the next ten minutes, look around your room and outside your window instead?

Try it…now…how do you feel? We are missing out so many moments in our life by looking at a screen.

Can you recall when you started out in music? What inspired that decision?

I’ve started to record on tape music that I was listening on the radio and that I liked. I was probably a five-six-year-old kid. Then, after unsuccessful trials in football and basketball, I bought a guitar and started to play music. When I was a teenager, I suffered anxiety for a while. Playing my guitar was my escape from it.

When you were growing up, which artists/records did you hold dear?

Definitely John Mayer – Continuum is my favourite album. He changed my musical mind. The fact I decided to become a songwriter is his fault!

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

When I supported Dustin Tebbutt at a sold out show at Omeara (London) with the crowd supporting me all the way through my set; applauding me and then asking me to play one more song when my set was over.

Might there be more material arriving later this year?

Sure thing!

In terms of influence, do you think modern music plays a role? Do you feel inspired by what is happening around you?

Yes, I do. As a songwriter, it is vital to remain up-to-date with music trends. This is a great time for finding inspiration in what’s around us. We can find inspiration every day from the Internet.

Having won support from some big publications, does that give you drive and confidence?

It does but, at the same time, it makes me think I should work even harder. They can support you once but then it is hard to keep that support constant and ongoing.

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

John Mayer - Continuum

The album that changed my musical mind.

Jack Garratt – Phase

Jack Garratt’s music has played a big role in my life since I moved to London. I was impressed with what he was doing.

Kula Shaker - Peasants, Pigs & Astronauts

I’m not a big fan of them, not even of the album, but I remember my dad buying the album, playing it in his car a lot when I was little. This is a memory of my childhood that I can’t forget and evokes positive feelings every time I think about it.

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

Good question. Supporting John Mayer would be a dream for the teenager-me. I’d probably ask him to play me an intimate version of Slow Dancing in a Burning Room.

Are you planning any gigs in the coming months?

I’ll be playing London shows for now. We’ll see what the future holds.

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

It is vital nowadays. I like to perform and to go to gigs as I think it’s what defines an artist identity and what can truly connect an artist to an audience.

 IN THIS PHOTO: M w S/PHOTO CREDIT: Amalia Navarro Photography

 Are there any new artists you recommend we check out?

Yes. My friends M w S. They are working hard too and deserve attention. Carmen Rosa, too as her voice is incredible. She recently released a song on Spotify that gives me goosebumps every time I listen to it.

 IN THIS PHOTO: Carmen Rosa

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

I don’t, really. At the moment, I have to find a balance for all the things that I do and it’s quite hard. In my free time (whenever I get some), I like to spend time with the people I love, eat new things; watch Netflix, go to gigs; football…life can be good (smiles).

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).

John Mayer - Slow Dancing In A Burning Room. It’s my favourite song ever

___________

Follow Alessandro Ciminata

Official:

https://www.alessandrociminata.com/

Twitter:

https://twitter.com/aciminata

Facebook:

https://www.facebook.com/alessandrociminatamusic

Spotify:

https://open.spotify.com/artist/2dUzpcaCyW2RWTNrlv3Sjv?si=pyXP3Kp4QPq2dZHIJW1EnA

Instagram:

https://www.instagram.com/alessandrociminatamusic/

YouTube:

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

SoundCloud:

https://soundcloud.com/alessandrociminatamusic

FEATURE: About a Boy: Remembering the Iconic Kurt Cobain

FEATURE:

 

 

About a Boy

IN THIS PHOTO: Kurt Cobain performing with Nirvana for MTV Unplugged in New York on 18th November, 1993/PHOTO CREDIT: Frank Micelotta

Remembering the Iconic Kurt Cobain

__________

I can recall a lot of upsetting memories from music...

 ILLUSTRATION CREDIT: Shawna Rowe

that struck me hard when I was growing up. We get into this headspace that musicians we idolise are immortal and they will never leave us. When anything bad happens to them, we are affected deeply and it scars us. Some might say it is weird to feel that way about someone you have never met and who never spoke to you. The thing is that these artists get into our hearts and we feel connected to them through their music – like they are speaking to us and understand what we are going through. I was only ten when I learned about the news of Kurt Cobain’s death on 5th April, 1994, but it was a moment that moved me. Before that point, I was a Nirvana fan and was discovering music away from Nevermind. That was the album that kids raved about in school. Released in 1991, it was somehow illicit and naughty listening to Nirvana because they were not the chart warriors and Pop acts that we ‘should’ have been listening to! I was an eclectic and adventurous child and so, naturally, bands like Nirvana were in my sight. It wasn’t just the physicality of the music that got to me and seemed to speak louder than what was coming out of the mainstream. Although I would become more involved with Nirvana’s music after Cobain’s death, it is amazing to think what an impact they made on me early on.

If anything, Bleach – their 1989 debut – strikes me harder and has a bit more surprise. I love Dave Grohl (percussion) and Krist Novoselic (bass) but it was the lead, Kurt Cobain, that seduced me. Maybe it was the worldview of the fact he seemed a lot more personable and different. From the Beatles-inspired About a Girl to the fuzz and grunginess Blew, Bleach is a fantastic album and one that gets overlooked. That raw and scratchy voice has power and vulnerability and the words paint vivid images and dig deep into the emotions. I love the fact Cobain was not like anything in the mainstream and did not seem to want the fame and attention so many of his peers craved. Although Bleach sags a bit towards the end, there are so many standout cuts that warrant further investigation. Before I come onto other Nirvana albums and live performances, it is worth noting that there were many sides to Kurt Cobain. As this NME article shows, Cobain knew that his bandmate Dave Grohl had some singing chops – maybe keeping them hidden as not to take away some of his light:

“Nirvana‘s former manager has spoken of how well aware Kurt Cobain was of Dave Grohl‘s vocal talents, suggesting that there may have even been “a touch of envy” between the two.

Danny Goldberg, who has also worked with the likes of Led Zeppelin and Bonnie Raitt, managed the Seattle band between 1990 and 1994. This week, he released Serving The Servant: Remembering Kurt Cobain – a book featuring his memories of the frontman, interviews with Courtney Love, Nirvana bassist Krist Novoselic and other members of Cobain’s family and friends, as well as files that were previously unavailable to the public.
Now, Goldberg has spoken of Cobain’s thoughts about drummer Grohl’s ability as a singer, long before he formed Foo Fighters.

“Kurt just said to me, ‘I don’t think you realise how good a singer Dave is, but I hear him singing harmonies every night.’ It was like he was really doing it so I would know this because there was this very fraternal side of him and a sweet side of him, but also it had a touch of envy in it. I mean he was competitive,” Goldberg told The Washington Post”.

I think many assume they had Cobain pegged and he was this blonde-haired, moody and simple being who was all about Grunge, being a bit rebellious and not wanting fame. There is this simplistic vision of a very complex and pioneering artist. (More on this, alas, later). Many associate Nirvana and Cobain’s genius with Nevermind. It is the album that took the trio to the mainstream and made them stars. This level of fame was something Cobain resented but one cannot deny the brilliance of the songs and the anthemic, Smells Like Teen Spirit. That song is viewed as one of the very best from the 1990s and is a rallying cry for generations of outsiders. It is one of the best album openers ever and is joined by plenty of fraternal gold. Grohl’s drumming is pummelling and incendiary whilst the bass work keeps the songs together and propels Grohl. Cobain’s riffs are fantastic and nuanced whilst his songs are full of emotional outpouring, anger and complexity.

 PHOTO CREDIT: Kirk Weddle

So many people identify with the messages in Nevermind but, as a piece of work, it is one of the greatest statements ever. Nirvana helped bring about a radical shift in tastes and pushed music to new heights. It helped popularise Seattle Grunge and assimilate Alternative-Rock into the mainstream. It is an album more mainstream than Bleach but not polished and accessible enough to be seen as something chart-based or simple. It is a hugely potent and grand work but it has that sense of accessibility that helped move Grunge to the masses. Cobain hated the attention songs like Smells Like Teen Spirit brought him but one cannot deny the impact that record has had on generations of musicians. Reviews in 1991 and those since have praised Nevermind and understood its importance – so many truly great records are usually understood and appreciate way down the line. The immediate impact of Nevermind was pure and obvious but, as this retrospective review from AllMusic shows, the album is not just a sign of a particular time:

“And, yes, Nevermind is probably a little shinier than it should be, positively glistening with echo and fuzzbox distortion, especially when compared with the black-and-white murk of Bleach. This doesn't discount the record, since it's not only much harder than any mainstream rock of 1991, its character isn't on the surface, it's in the exhilaratingly raw music and haunting songs. Kurt Cobain's personal problems and subsequent suicide naturally deepen the dark undercurrents, but no matter how much anguish there is on Nevermind, it's bracing because he exorcizes those demons through his evocative wordplay and mangled screams -- and because the band has a tremendous, unbridled power that transcends the pain, turning into pure catharsis…

And that's as key to the record's success as Cobain's songwriting, since Krist Novoselic and Dave Grohl help turn this into music that is gripping, powerful, and even fun (and, really, there's no other way to characterize "Territorial Pissings" or the surging "Breed"). In retrospect, Nevermind may seem a little too unassuming for its mythic status -- it's simply a great modern punk record -- but even though it may no longer seem life-changing, it is certainly life-affirming, which may just be better”.

Nevermind is Nirvana’s commercial album and, although it brought them new attention and following, you sort of feel like their final studio album, In Utero (1993), was a reaction to that. It is, like Bleach, a more intense and dirty album that sounds like the record Cobain always wanted to make. There are no songs as big and timeless as Smells Like Teen Spirit but, in many ways, In Utero is a more complete, personal and satisfying work. Who knows where Cobain’s mind was as the band started to create In Utero.

IN THIS PHOTO: Nirvana (Dave Grohl, Kurt Cobain and Krist Novoselic) photographed in 1991/PHOTO CREDIT: Paul Bergen/Redferns

Rape Me and Scentless Apprentice are as primal and cathartic as anything they have ever recorded whilst All Apologies is Cobain at his most open and emotive. There is the strangely catchy Dumb and Pennyroyal Tea and the much-sampled Very Ape. The reviews for In Utero were not as emphatic as for Nevermind but, as this Pitchfork assessment shows, there was a lot going on and Nirvana were determined to create a very different third studio effort:

 “For the past two decades, we've essentially been living with two versions of I**n Utero. The first was officially released Sept. 21, 1993, though its legend was established several months prior. As the intensely anticipated follow-up to the most transformative rock album of the 1990s, Nirvana’s third record was pre-destined to become a battlefield in the heightening clash between indie and corporate culture, as mediated by a band that was philosophically faithful to the former but contractually beholden to the latter...

Upon release, In Utero may have debuted at number one, but initially it was something of a pyrrhic victory: Rather than lead a wave of Jesus Lizard-inspired noise bands to the top of the Billboard charts, In Utero would send millions of Nirvana’s more casual crossover fans scurrying into the warm embrace of Pearl Jam’s record-setting October '93 release Vs., an album that, from a music-biz perspective, was the true blockbuster sequel to Nevermind. In that sense, this first version of In Utero resonates as much today as a symbolic gesture as a collection of 12 unrelentingly visceral rock songs, a how-to manual for any artist at the top of their game-- from Kid A-era Radiohead to Kanye West circa Yeezus-- that would rather use their elevated position to provoke their audience than pander to it”.

One cannot talk about Kurt Cobain and his genius without nodding to Nirvana’s legendary set at Reading in 1992. The band was one of the biggest in the world and there was so much pressure on them. So much expectation and hype; a sort of once-in-a-lifetime event that sort of defined the time. Cobain arrived on stage in a wheelchair and, from there, one knew it was going to be a truly memorable gig. Nirvana’s 1992 turn is seen as one of the best Reading Festival turns ever – as the official website backs:

“It’s times like this that are peppered throughout the set and remind you of the band’s – and especially Kurt’s – resistance at having such a huge following. Despite the huge crowd in front of them they were playing for themselves. It’s just lucky the throng enjoyed being brought along for the ride.

You’ll never know at the time just how much impact a single performance like this might have, but like The Beatles on the roof of Apple, or Oasis at Knebworth, this gig will forever be known in the lore of rock. So much so in fact, that recently released Nirvana documentary ‘Montage Of Heck’ opens with it, showing backstage footage from the band”.

Before concluding and talking more about the man himself, you cannot forget the decade-defining set Nirvana performed, unplugged, in New York for MTV. Their MTV Unplugged in New York gig was very different to the Rock-driven performances that one expected. Nirvana taped their performance in a single take – unlike most acts – and the fourteen-song set contained a mixture of original songs and covers.

 PHOTO CREDIT: Frank Micelotta

Cobain asked for the set to be decorated like a funeral: chandeliers, lilies and black candles. Although the set is ‘unplugged’, Cobain gave some extra intensity and fuzz as he ran his acoustic guitar through an amp and effects pedals. It gave songs like The Man Who Sold the World (David Bowie) new life and meaning. The set was taped on 18th November, 1993 at Sony Studios and was a definite break from MTV traditions. There were nerves from Cobain as the rehearsals were beset with disagreements and problems. Cobain was suffering from drug withdrawal and, as the network were unhappy with the lack of Nirvana songs, the frontman threatened to boycott and not play.

You look at the filmed performance and there are few smiles and laughs. It is a very focused and intense performance but, saying that, Cobain did talk between songs and appears a lot more casual and involved than many give him credit for. Dressed in a cardigan and sitting on an office chair, it is a mesmeric performance from Cobain and one that brings something different from his voice. In this article, Fred Perry asses the magic and importance of Nirvana’s unplugged masterpiece:

“A dozen years before Youtube, MTV was still the way that many in America and Europe accessed new music in a visual medium. Unplugged caught Nirvana at a unique point in their short existence as a band and introduced them to audiences in a new way. Cobain's struggles with his own success were already well documented, and Nirvana were not completely happy the MTV unplugged format. MTV wanted a setlist of Nirvana's greatest hits with guest appearances from the like of Pearl Jam and Tori Amos, but instead, the set list featured songs by David Bowie, Leadbelly and '80s Scottish band The Vaselines. The additional players were made up of members of Meat Puppets along with Nirvana's touring guitarist Pat Smear, a former member of American punk band Germs.

Kurt Cobain managed to present an alternative to the stereotypical rock star ego throughout the set. One of the most memorable moments of the set was the cover of David Bowie's 'The Man Who Sold The World'. The inclusion of the song introduced the audience to an era of Bowie that many were unaware of, knowing Bowie more for his then relatively recent period with Tin Machine or 'Let's Dance'.

Despite the worldwide success of 'Nervermind', it was Unplugged that gave Nirvana the biggest platform, and Kurt Cobain used it to dismantle the idea of the strutting male singer with a guitar, replacing it with a reality young people could connect with”.

Everyone talks about Cobain’s suicide and drug problems; how he was this rather troubled character but we do not think of Cobain as this pioneer and groundbreaking writer. He was against the egoistical and macho type that dominated Rock and was very support of women’s rights and the L.G.T.B.Q. movement. In this feature, the band’s former manager Danny Goldberg spoke about Cobain’s depths and forgotten sides:

 “But the former Nirvana manager, who Cobain had hailed as a "second father," emphasized that behind the drug use and depression the superstar was a "musical genius."

He was also a romantic goofball, Goldberg said, who happened to be the proud owner of four pristine, sealed copies of The Chipmunks Sing the Beatles Hits.

PHOTO CREDIT: Anton Corbijn/Courtesy of the Artist

Goldberg believes Cobain's "slacker" appeal – the tattered sweater, the ditchwater-blond locks, swept frequently and absent-mindedly from ocean-blue eyes as he flicked a hand-rolled cigarette – drew attention from his impressive intellect.

"I always knew there was a depth to the energy and feelings that he was playing with; it was deeper than just a great chorus – even though he did write great choruses," Goldberg said.

His manager credits Cobain with championing women and helping to "redefine masculinity" within the music world.

"He could be very powerful and compelling – and at the same time, be sensitive and caring. That was a departure from the rock orthodoxy of the time," Goldberg said”.

 

Popmatters backed this up and explained how we often view Kurt Cobain in one-dimensional terms:

“Hard rock today still relies a good deal on drawing crude sonic inspiration from Nirvana’s dynamic and emotionally volatile output. What’s really distressing though is what elements have been discarded over the years. Cobain’s outspoken advocacy of feminism and LGBT rights, his sarcasm, his uncertainty regarding celebrity, his tendency for self-effacement, his esoteric musical taste, his inclination to not care if a note was out of tune or a guitar made a horrific noise on a potential hit single -- all these are too complicated and uncomfortable for much populist hard rock these days to deal with, and are thusly ignored. Instead, a band like Nickelback takes the turgid guitars and gruff vocal timbres of the grunge era, polishes it up, and marries it to hoary old rock tropes like getting drunk and partying with strippers.

For a long time, critics and music industry types sought the next Nirvana, and by extension, the next Kurt Cobain. Indeed, they positively pined for someone else to come around with the same weight of importance around him. Nowadays, Cobain really is a musical ghost: there are flickers and flashes of his voice and guitar still audible, but much of what defined him -- what he believed in and what he stood for -- doesn’t resonate in today’s musical climate. To me, that’s the real shame. I’ve long accepted the fact that events in history have limited the Nirvana songbook. Yet I am really disappointed by how despite a stretch in the ‘90s that in retrospect appears anomalous, Cobain’s obstinate relationship with the music industry and rock stardom did not become a new kind of normal after all”.

Twenty-five years after Kurt Cobain’s death, there is still so much we do not know about him. If you have seen the film/documentary, Montage of Heck, you will learn more about his childhood and early life. The genius music is only one side of Cobain and, as we mark twenty-five years since his passing, we must think about the incredible human behind the music. He was, at times, confrontational and distant but he was also very warm, progressive and vulnerable. He was the antithesis of the rather simple and crude male role model – let’s hope that Cobain’s legacy and personality makes more of an impression on history than the rather cocky and jock-type bands that many idolise. I have compiled a Kurt Cobain/Nirvana playlist to end this feature but there are videos, interviews and other artifacts I suggest people seek out to get a better impression of this remarkable artist. Although albums like Nevermind and In Utero have influenced artists since their release, I do wonder whether we will ever see anyone like Kurt Cobain. I think he was this brilliant star that burnt very brightly for a short time. Maybe, given the age in which we live, we will never see anyone like him again! For that reason, I think we all need to see Cobain in different terms and realise he was a lot more than what the media portrayed. It is sad that Cobain left us at the age of twenty-seven but, in a short time, he did so much for music and influenced a generation. He will continue to inspire musicians for decades to come but I wonder whether, twenty-five years after his death, we truly know…

 PHOTO CREDIT: Getty Images/Press

THE real Kurt Cobain.

INTERVIEW: Cameron Hawthorn

INTERVIEW:

Cameron Hawthorn

___________

I have been speaking with Cameron Hawthorn...

about his latest song, Dancing in the Living Room, and what it is all about. Hawthorn talks about the song’s personal message and reveals whether there is more material coming along – I ask what music he grew up listening to.

Hawthorn tells me how he got into Americana and Country and which artist he’d support if he could; whether he will play the U.K. at some point; which albums are most important to him and how he spends his free time – he selects a pretty cool song to end things with.

____________

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

My week has been great, thank you! 

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

I am an American singer-songwriter who fuses elements of Country, Americana; Folk and Pop/Rock. I come from a small town in Kansas and find a lot of inspiration from my time in the Midwest. My new music is my most honest to date and I'm singing openhearted about who I am.

Dancing in the Living Room is your new single. What inspired you to write the track? 

I remember always thinking how special it was to dance freely with my boyfriend in the living room of our apartment - being gay, it's not as easy to dance as a couple in public together as it is for a straight couple. I wanted to express how special that moment is for a couple; when it's just the two of you in the privacy of your own four walls.

Is it difficult to talk about the pride of being in a gay relationship at this time in America? Is it liberating or was it scary discussing your experiences through music? 

The difficult part is putting it out there. But once that's over with, it feels extremely liberating. 

How did you get into music? What attracted you to genres like Americana and Country?

I've been into music from a young age. I grew up doing a lot of musical theater and learned piano pretty young. I started songwriting when I was in high-school and it was just a hobby then. When I graduated from college, I knew it was what I wanted to do with my life. I grew up on Country music. I'm from Kansas and all of my family is originally from Oklahoma. Country music is in my blood and it just feels like home to me.

Might there be more material coming later in the year?

Definitely. Be on the lookout soon for more songs that will be leading to an E.P. 

When you were growing up, which artists/records did you hold dear?

One of my first C.D.s was the Grease soundtrack. I was also obsessed with The Wizard of Oz from a very young age and would sing along with Somewhere Over the Rainbow every time I watched it. I honestly loved old musicals so much growing up. My parents would have Country radio on in the car and, on Saturday mornings, in the living room and my mamma and pappa would always have old Country tunes blaring from their little radio out on the back porch.

I didn't really get to know those artists and songs until later but that was where the roots were. As a teenager, I loved singer-songwriters like Missy Higgins, Gavin DeGraw and The Fray.

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

The release of Dancing in the Living Room has been incredible. The response from people has just been so overwhelmingly positive and it inspires me to read the comments and messages from people that have been inspired by the music and my story. That really means the world to me and more.

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

Grease: The Original Soundtrack from the Motion Picture - first C.D. ever.

Chariot by Gavin DeGraw - first time I was attached to an artist and every song on an album.

Golden Hour by Kacey Musgraves - I'm so inspired by Kacey as an artist and this album is so poetic and beautiful.

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

Kacey Musgraves. All I'd ask is that she'd do a cover of Somewhere Over the Rainbow with me.

Are you planning any gigs in the coming months?

I hope to play an L.A. and Nashville show very soon!

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

That would be a crazy adventure and I would love it. We'll see!

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

I love both. They're very different. I absolutely am addicted to the energy of being on stage and the element of the audience. It's electric. But the studio is often where my creativity flows as a songwriter and I love the collaboration process with producers and musicians.  

IN THIS PHOTO: Kelsy Karter

Are there any new artists you recommend we check out?

One of my best friends, Kelsy Karter, is on fire right now with her new music. I'm really digging Jade Bird and Ruston Kelly as well. 

IN THIS PHOTO: Jade Bird/PHOTO CREDIT: Austin Roa

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

I try and make time to relax. I think it's really important to have a balance of work and relaxation because I'm often inspired in moments of relaxation and ‘chillin’ - and just for my own health and sanity. I love conversation over good coffee with friends and new people. My happy place is by the water; whether that's a pool or a beach or a lake.

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).

My guilty pleasure is girl Pop. I adore an artist named Sigrid and her song, Don't Kill My Vibe, is one of my sing-it-loud-in-the-car anthems. Enjoy (smiles).

___________

Follow Cameron Hawthorn

Official:

http://www.cameronhawthorn.com/

Twitter:

https://twitter.com/cmrnhwthrn

Facebook:

https://www.facebook.com/cmrnhwthrn

Spotify:

https://open.spotify.com/artist/4pffLuF7STrHB1qQl6N1MQ?si=fpQ-jJAmShCJpCUT6bsWkw

Instagram:

https://www.instagram.com/cmrnhwthrn/

YouTube:

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

PHOTOS:

Ellenor Argyropoulos

FEATURE: Station to Station: Song One: Lauren Laverne (BBC Radio 6 Music)

FEATURE:

 

 

Station to Station

IN THIS PHOTO: Lauren Laverne attending the forty-fifth annual Television and Radio Awards hosted by the Broadcasting Press Guild (she deservedly won the Radio Broadcaster of the Year prize on Friday, 15th March, 2019)/PHOTO CREDIT: Getty Images/Press 

Song One: Lauren Laverne (BBC Radio 6 Music)

__________

IN this new feature...

PHOTO CREDIT: Sarah Lee for The Guardian

I want to look at those in radio who inspire me and, in addition, countless others. I was trying to find a cool title for this feature and, for some reason, the much-overlooked David Bowie album of 1976 came to mind (TVC15 is a dope-ass song and needs to be played on the airwaves!). Next time out, I will feature Ken Bruce: someone who has been at BBC Radio 2 for years and has established himself as a bit of a legend – not least because PopMaster is a national institution! I wanted to start rolling the ball because, appropriately, I have just finished (as part of my research for a podcast series) listening to Lauren Laverne’s interview with Kate Bush back in 2011. It was when she (Bush) was promoting 50 Words for Snow and, to me, it is one of the best interviews I have heard! There is such a natural chemistry between the two and the questions are thoughtful and interesting. I cannot believe it has been over seven years since Bush’s last studio album and, bugger me, we do need another one along very soon! Anyway, I deflect and digress somewhat…

PHOTO CREDIT: Boden Diaries

Bush has provided a few interviews to BBC Radio 6 Music – Mark Radcliffe has done several of them, the lucky bugger! – and I know, when a new album arrives this/next year, it will be interesting to see who gets the call. I hope Laverne does because, as you can see from the YouTube comments on her 2011 interview, people responded hard…and it brought new sides from Bush (who knew the icon liked the film, Source Code, and was partial to the odd explosion!). It was refreshing to hear an interview with Kate Bush where the same questions were not being asked and, as a result, she was a lot more relaxed and revealing. One of my life-long dreams is to interview Kate Bush so, if Laverne does get the call, maybe I can be ‘security’ or ‘food carrier’ – or I can stowaway somewhere and covertly get in; vibrate like a gleeful moron and meet an idol. A boy can dream but, yeah, I think that chance has passed by.

If you hosted a radio show, who would you book as a guest?

🎤 @laurenlaverne's new Breakfast Show launches on Monday at 7:30am, so we asked who's on the wishlist...? pic.twitter.com/AJVuSje4ZD

— BBC Radio 6 Music (@BBC6Music) January 5, 2019

I know, alas, I will need to craft my own way and put the miles in before being afforded a chance to come face-to-face with the mighty Bush. It might seem like a diversion and non-sequitur – it is forty years to the day Kate Bush opened her Tour of Life in Liverpool (I wrote about it yesterday); a groundbreaking and innovative concert series that revolutionised the feel and ambition of the live show – but one of the reasons a personality like Laverne connects and makes me stick with BBC Radio 6 Music of a morning is that common ground. Knowingly or otherwise, she has this innate ability to appear friend-like and paternal; like a cool mate in the schoolyard who is into the same sh*t as you; a radio version of multi-vitamins and rainbows – able to nourish every part of the body and soul and provide light and colour (that might sound wanky but, sue me, that’s how it feels). She has a great love of live music and new releases; a tireless curator and discoverer of brand-spanking music and the hottest fresh sounds around. I do love how Laverne embraces every aspect of music and every sonic corner. There are not many like her in the radio world!

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Which set will you be watching from 6 Music Festival on iPlayer? Here’s Lauren’s pick.

A post shared by BBC Radio 6 Music (@bbc6music) on Apr 1, 2019 at 9:03am PDT

Every listener will have their own connection to her but, as I say, it is that feeling like there is someone who thinks the same and has your taste in music. Not only do I imagine she’d chat about Beastie Boys (heroes of mine); the best Madonna albums (ditto: the obsession is more to do with her career evolution rather than fashion or anything like that – I just find her neat and unique); which album and song defines Steely Dan (as mega-fans we’d disagree but you know she’s put up a good fight). I find the Steely Dan thing interesting, actually, as I do not hear of many high-profile figures who have such admiration for the band/duo (one of the founders/members, Walter Becker, died of cancer in 2017). I have never met Lauren Laverne but I would probably start by asking about her love of Steely Dan and when they came into her life. I wonder whether her exposure is the same as mine!

PHOTO CREDIT: Boden Diaries 

There are other niche aspects to my passion I feel she’d understand – such as Michel Gondry music videos (Lucas with the Lid Off is my favourite video ever) and the sounds of the 1990s (and how it was the last really joyful time for music; we need to revive some of the best Dance/House/Pop music today). She also lives fairly close to me – Alexandra Palace is a venue local to both of us; she is in Muswell Hill and I’m in Wood Green – and is of a similar age (she is a few years older) and, rather than being this distant and unreadable D.J., it feels like there is this very open and of-the-people person who easily and warmly embraces all of us. I know for a fact many others feel the same way and, because of that, I hope she remains on the air for many decades to come. Why is Lauren Laverne on the block and the first BBC Radio 6 Music D.J. I wanted to feature, you might ask? (I am also going to include Shaun Keaveny and Mary Ann Hobbs at a later date). I used to listen to Absolute Radio (a station dedicated to playing the same songs over and over; a bafflingly-popular option) but, in truth, it was her old mid-morning show that opened my mind! The reason I became attached to the written word was – stay with me here, okay… – was school memories; a time when literature was a big part of the primary/secondary-school syllabus.

PHOTO CREDIT: Getty Images/Press 

I used to love book fairs at schools; where we could all pick up second-hand books for 50p and such. We’d also have these yearly ‘reading days’ where, in each classroom or hut - my old school (f*ck me, Steely Dan just came back into my head!) had traditional classrooms but we used to have huts/portacabin-type builds where art and subjects like that were taken - a chapter from a different book was being read out to those who wanted to hear it. The children could move from classroom to classroom and, simply, hear a passage read out by one of the teachers. It was on those days – one in 1989, to the best of my recollection – where I fell in love with books such as A.A. Milne’s Winnie the Pooh (the collected stories) and Kenneth Grahame’s The Wind in the Willows. The latter was my favourite book as a child (Winnie the Pooh is now, oddly) because of the way the teachers made it spring to life; a dear friend of mine gave me the book as a birthday present – we were both born on the exact same day –, and I was immersed in the power of the written word and imagination. When it came to radio, listening to Lauren Laverne’s mid-morning show broadened my horizons in a similar way. I was already a mega-passionate music fan and journalist but new realms were introduced; this giddy and exciting world that was shut to me previously – why did I waste time listening to any other stations before?!

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Thank you, @telegraph and @stella_telegraph for the chance to talk life, breakfast #radio, #6music, and #desertislanddiscs in the paper and online today. The shoot also made me want to up my PJ game! Special thanks to @lizbeckettmua for my bonce https://www.telegraph.co.uk/women/life/lauren-laverne-greatest-regret-breadwinner-becoming-busiest/amp/

A post shared by Lauren Laverne (@laurenlaverne) on Dec 9, 2018 at 1:27am PST

I shall come to Lauren Laverne’s change from mid-morning to the breakfast slot, but I think the reason she has such passion and authority is because of her musical past. She previously sat in for BBC Radio 1’s Steve Lamacq (now her colleague at BBC Radio 6 Music) and joined XFM – now Radio X, I think – back in 2002 (I am going via Wikipedia here so apologies for any errors. Her birthday is one day after my mum’s…kind of cool!). She started hosting the XFM breakfast show from 2005 after Christian O’Connell moved to Virgin Radio so, in a short space, she had worked for various stations and already done a breakfast gig. She joined BBC Radio 6 Music in June of 2008 and, before long, became a favourite for many. Since then, Laverne has hosted on every BBC radio station – maybe BBC Radio 1Xtra alludes her but that is about it! She has that experience and range and, although she is only forty, she has more experience and confidence than many of her much older peers. Not only did Laverne’s style and show inspire my ears and confirm my love of BBC Radio 6 Music but it has made me a more proactive and motivated feminist (as have her peers such as Mary Ann Hobbs). Not only has she enjoyed plenty of eclecticism behind the microphone in the radio world but she is a former musician.

I was a follower of Kenickie back in the day and, aside from their cool Grease-referencing moniker – I am not a fan of musicals but anything with Hopelessly Devoted to You and Greased Lightin’ (a song I first heard at eight; pretty eye-opening considering John Travolta talks about chicks creaming, his car being a “pussy wagon” and him saying “sh*t” and “tit” without much hesitation) is pretty good by me -, the band were writing songs more immediate and fresh than a lot of what was being played on the radio! As part of the four-piece Kenickie (her brother was also in the band), they released their debut album, At the Club, back in 1997. I know I have skimmed this subject in other Laverne-related pieces but, for context, it is important I travel back to a time when I was fourteen and discovered this cool new band. At the Club arrived three days after my fourteenth birthday on 12th May, 1997 and scored a lot of critical love! This is a sample review; AllMusic definitely impressed with the band’s debut:

“Like Ash before them, Kenickie have an adolescent exuberence that makes At the Club a joyous, infectious debut. Kenickie are self-styled adolescents, making a big deal of their age, not only in their surprisingly funny lyrics, but in the way their guitars and drums bounce off each other, creating a wonderful cacophony. And just as wonderful are the songs themselves, filled with hooks and melodies that ring in the head, especially since they're delivered with ragged, invigorating enthusiasm. "Punka," "Come out 2 Nite," "P.V.C.," and "In Your Car" all date from early singles, yet they've lost none of their power. More importantly, Kenickie have come up with another batch of originals that are just as strong, making At the Club a terrific punk-pop debut”.

Laverne and Marie du Santiago penned most of the tracks and, with gems like Punka (one of the playground favourites when I was at high-school – a track co-written with her brother, Johnny X (real name Pete Gofton. Gofton is Laverne’s maiden name…gets confusing!) – it was small wonder At the Club resounded and was a definite favourite in my C.D. collection. My friends and I used to wax lyrical about bands like Kenickie. The group released a second album, Get In, in 1998 and, aside from the writing dynamic shifting slightly – the siblings co-wrote the bulk of the songs and were much more harmonious and less bitchy than Liam and Noel Gallagher of Oasis! –, the quality was right up there. This Pop-Punk band was a breath of fresh air at a time when Britpop still lingered in the wind and big bands like Blur were starting to take guidance from U.S. guitar acts such as Pavement. Groups like Radiohead, The Prodigy; Sleater-Kinney and Blur were defining 1997: Massive Attack, Beastie Boys; Hole and Garbage a year later…

Kenickie were able to ride the waves and create their own style: commercially popular and fresh enough to sway those who were following what was owning the charts or scoring big on music T.V. Laverne’s music career did not end when the band split and, in addition to giving a memorable backing vocal for The Divine Comedy’s Come Home Billy Bird in 2004 (she sang few words but made an impact in the chorus – sort of like Kate Bush’s duet with Peter Gabriel on Games Without Frontiers), she worked with Mint Royale and other artists. All of her experience in the industry during its absolute peak goes into her radio work. I am not suggesting those who have enjoyed a career making music translate into D.J.s more readily…but it is clear Lauren Laverne has a deep knowledge of the industry, having been in the spotlight for a time. Being part of a popular band, she can definitely relate to musicians today and what they have to go through. The landscape has altered since the 1990s but a lot of the same highs and lows remain in place.

IN THIS PHOTO: Emmy-Kate Montrose, Lauren Laverne and Marie du Santiago of Kenickie/PHOTO CREDIT: Getty Images/Press

To play and find popularity in the 1990s must have been immense, but that is not to say Lauren Laverne is rigid when it comes to playlists – her selections are, in fact, broader than most on BBC Radio 6 Music. This all takes us to now and why I feel she is one of the best on the airwaves. She took over Shaun Keaveny’s breakfast show back in January – they really need to take off the sting/jingle that opens her show saying that it is ‘new’ – and settled into the role very naturally. The woman deserves a week or two off to recharge her batteries as one feels weeks and weeks of early starts and having two young children must have her clamming for some calm and chill! I know Laverne’s work ethic is endless and she never sounds like she is flagging. I am not sure where she gets all that energy from but one can, vicariously, feel uplifted and driven listening to her every morning!

There are many reasons why broadcasters like Lauren Laverne mean a lot to me. Apart from her devotion to Steely Dan (Pretzel Logic is their finest album and Deacon Blues their greatest song, by the by!), if I had to put my finger on it, it is like she is in your head. It is also like no other area of the world bar Wogan House down on Great Portland Street, London means as much to her. I am sure the bus/Tube ride to work and back is not exactly a bed of roses each day but you just know she arrives to work with a smile and would not be anywhere else! This infectiousness rubs off on all of us as we struggle to lift our heads out of our cereal and negotiate every Tom, Dick and Twatbag (would that last forename be hyphenated?!) on the daily commute. It is that boost and hug that we all need and, damn it, I would be a weaker man without it, that is for certain! I think we all owe a debt of thanks to Lauren Laverne and her wonderful team.

PHOTO CREDIT: Boden Diaries

I was sceptical whether the move from mid to early-morning would work and whether it would mean we’d lose the best features and aspects from her regular show. Even though Biorhythms has gone, there are new features: The Maths of Life (with Dr. Hannah Fry) is great and Monday’s Cloudbusting (ten Kate Bush points there, team!) is ace; Social Recall (named after the film, Total Recall, I would imagine, minus Arnie Schwartznegger and the three-breasted mutant) allows listeners to put together a playlist of songs that represent a memorable and meaningful time of their life. It is the way Laverne interacts with the listeners and it has this mix of mother-like and matey that makes her so popular and accessible. Maybe it is just me but I do think some D.J.s are either too lacking in warmth or they can seem very anodyne and forced. Laverne has years’ experience but she is always growing as a D.J. and I think she is influencing and speaking to a generation of promising new talent who want to follow her example.

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‪Are you “First In” this morning?‬ ‪Every morning before 8am, Lauren plays a tune for one music lover who has arrived early and commandeered your work place radio (the rules are loose and freelancers and home workers may also apply). Is that you? Which song would you like to hear?‬

A post shared by BBC Radio 6 Music (@bbc6music) on Jan 21, 2019 at 10:47pm PST

I know Laverne does talks and has spoken about radio and her career to audiences. I think, as we are hearing about music being taken from schools and (it’s) seen more as a ‘hobby’ and less of an essential thing, the experience and talent Lauren Laverne has can not only help guide young minds but make a big impression on those in the government who are depriving future generations. We cannot rely on music schools and universities to mould and discover the next breed of D.J.s and broadcasters. I think music/radio needs to be taught at school age and we cannot really allow it to slip from the public consciousness. This is just me going down another garden path, but one feels that Laverne’s words and guidance could help bring about change when it comes to the important of music in our schools.

She is still a very young woman but many colleagues of her age either try to be too cool or a little, let’s face it, boring! Lauren Laverne has that natural blend that we all love. Always funny and knowledgeable, she is like the very cool aunt you never had (expect my favourite aunt played loads of Steely Dan so I DID have a cool aunt once upon a time), but someone who is very much able to be serious and sympathetic. I remember listening to her show – in her old slot – when the news of David Bowie and Prince’s deaths were announced back in 2016. She provided us news of Scott Walker’s passing last week and, at all times, she keeps her composure and opens her show to include music from that artist. Some may say that is mere professionalism but it is an understanding of her listeners and a natural compassion that means we all stick with her and feel part of the family; comforted and less alone. Laverne has also made me more curious about vinyl; introduced me to great new artists and led me to become more attached to radio as a medium. In fact, aside from my life-long dream of interviewing Kate Bush (it might happen is she lives a few more decades!), having a once-a-week show on BBC Radio 6 Music is right up there! Because of Laverne’s eclectic music, her sheer energy and warmth…these are all reasons to aim high and be ambitious. Never give up, eh?!

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Thank you so much to the incredible response to our first show this morning. I was nervous despite myself, but it was so much fun waking up with the @bbc6music family. I want to say a massive thank you to - and to introduce - my on air team (Shola, Lucy and Mark - tagged!) who have made prepping the new show such a pleasure. Same again tomorrow if you fancy it? 7.30-10.30am xx

A post shared by Lauren Laverne (@laurenlaverne) on Jan 7, 2019 at 3:43am PST

A lot of my radio experience from the 1980s and 1990s revolved around the charts and seeing which new albums I needed to rush out and buy. I think purchasing Now That's What I Call Music! 24 in 1993 is right up there, sadly or not! (Actually, that compilation is f*cking boss so nuts to the sniggering!). The more options we have, the harder it can be to focus and find that sense of excitement. I listen to BBC Radio 4 when I can but, for my daily fix, it just has to be BBC Radio 6 Music. My first memory of life emanated from a radio: Tears for Fears’ Everybody Wants to Rule the World wafting into a brown-and-beige house in, I’d say, 1986. That is such a special and evocative memory; I always get shivers when I hear the first few notes/seconds of Everybody Wants to Rule the World. Now, many of the happiest moments I have are because of Lauren Laverne’s show and her colleagues on BBC Radio 6 Music. For that alone, I am inspired to get into radio and, as is my dream, have my own show on the world’s best radio station.

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Rhetorical question: Who’s looking good today? You can’t beat Breakfast with Neneh Cherry and her tales about everything from being 14 on tour with The Slits to working with Four Tet on her fantastic new album. The interview is now available on BBC Sounds and subscribe to Lauren’s podcast on there to never miss an interview. #nenehcherry #laurenlaverne

A post shared by BBC Radio 6 Music (@bbc6music) on Jan 30, 2019 at 2:36am PST

I hope Loz gets a week or two off soon because she has been a busy human! She was justly named Radio Broadcaster of the Year at the forty-fifth Television and Radio Awards and, with that on her shelf/bedroom table/dashboard in her car, one thinks she’s owed a break and a pay rise (I dread to think whether D.J.s like Lauren Laverne and Mary Ann Hobbs get the same money as peers like Steve Lamacq and Gideon Coe). Maybe that is getting too political but, I dunno, it is something that needs to be discussed at some point. Laverne also hosts, now and then, Late Night Woman’s Hour and also, whilst Kirsty Young is ill, Desert Island Discs. She is brilliant on BBC Radio 4’s most-popular series and I hope she gets her own show (if she has time) on the station in the future. I am jealous of the way her career has grown and evolved through the years and how happy she sounds right now. It is motivating for me and so many people who love radio and have made it a big part of their daily lives.

PHOTO CREDIT: BBC Pictures/@BBC6Music

My fondest wish is that more opportunities are given and doors opened for her. Like some of her peers/friends such as Caitlin Moran, I can see Laverne moving into screenwriting and literature (her 2010 novel, Candy and the Broken Biscuits (Candypop, Book 1) is available here). With awards and greater airtime, she is definitely proving why she is ahead of her peers. I do wonder whether she will get her own documentary or permanent show on BBC Radio 4; if there will be a small move into T.V. or new musical endeavours (owning a label or keeping up with backing vocals). Right now, she is adapting to a sort-of-new slot on a great station and providing companionship and fun to her listeners. I am curious whether there might be new features or, in time, live performances will be part of her morning routine. As it is, the show is pretty damned brilliant…but I know Laverne is a curious person always looking ahead at what could be.

IN THIS PHOTO: Lauren Laverne and St. Vincent looking pretty happy and relaxed/PHOTO CREDIT: @BBC6Music

I can envisage Laverne being on BBC Radio 6 for many more years but I think she will be on radio for as long as Annie Nightingale – the first woman to broadcast on BBC Radio 1 and a bit of an all-round legend who is still going strong! I wanted to tip my hat (again) to her because of her continued rise and the fact she has provided so much inspiration to me. I do think D.J.s and radio figures are not given the same space and love as T.V. and film performers and this is wrong. The work that people like Lauren Laverne and her peers do on a daily basis is hugely important. There is a lot of talk in the media - I argue and write about it a lot - regarding gender inequality in music and an evident pay gap. I hope women like Lauren Laverne help raise awareness (in the work they do and how popular it is) and bring about change in the industry. It is tough times and there are some controversial debates but I do feel like the best female broadcasters warrant the same pay as the men - this is something that bugs me and I do hope it gets sorted very soon.

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Right, then....

A post shared by Lauren Laverne (@laurenlaverne) on Sep 5, 2018 at 2:18am PDT

I am so impressed she can easily switch from her weekday duties on BBC Radio 6 Music to her Desert Island Discs role on BBC Radio 4. The past year or so has been very challenging as I have tried to find a footing in London and make my way. Aside from seemingly contracting a cold every week – is it even possible to stay healthy in London when you take the Tube every day?! –, I have experienced some personal loss and bad fortune. It is nothing tragic but, as one knows, there are setbacks and problems along the way and it would have been easy to crumble or let them get on top of me. Music and radio has been my sanctuary so, in that respect, people like Lauren Laverne are invaluable and very precious to me indeed. I cannot complain too much but, having to adjust to a big city and a new way of life, it has been quite daunting and challenging.

 IN THIS PHOTO: Lauren Laverne and actor Martin Freeman on Desert Island Discs/PHOTO CREDIT: @BBCRadio4

Laverne herself had some bad moments last year (including the sad death of her beloved father) but I think, in more ways than one, she is able to soothe and provide guidance without knowing me/many others. All great D.J.s and broadcasters should be able to speak to each and every listener without trying too hard and knowing who they are. The BBC Radio 6 Music listening demographic is pretty broad and the average fan has a pretty eclectic vinyl collection! The Sunderland-born D.J., broadcaster and writer does not betray her roots and, instead, it is almost like we are sitting in her family home of a morning, listening to Laverne play some cool tunes, having a chat with us and fixing us up a brew. I could prattle on a bit – I think I have done that enough – but many people ignore the radio or tend to find that it all sounds the same. The D.J.s I am going to include in this seven-part series each have their own personality and lure but they are all bonded by a common trait: the ability to hook you in and make your life better. If you are feeling a bit crap or need a good laugh; if you need to release some anger or are on the look-out for some solid musical recommendations, a great D.J. can satisfy these demands with a sort of telekinesis.

I will bring Ken Bruce to you in a week or so (not many sharp/great-quality photos of him online, alas!) but I wanted to start with Lauren Laverne. Make sure you check out her BBC Radio 6 Music page. You can also follow her on Twitter and Instagram. I will end with part of a message Laverne posted to her Instagram account after she won the Radio Broadcaster of the Year gong at the Television and Radio Awards:

“…I am so grateful for is that it has taught me to do things juuuust before I think I can (ie to make the leap when I’m almost ready but don’t quite feel it yet). Sometimes I fell on my face but mostly it worked out and even more often I ended up having the most interesting, hilarious, worthwhile professional experiences precisely because I tried things before I waited until I was overqualified/over prepared/10lb lighter/the kind of woman who looks casually amazing and has an upscale yoga lifestyle. My life is full, surprising, immensely rewarding and I’m never *quite* ready for any of it - maybe that’s part of the fun? Thank you most of all to my sensational family for their love & support”.

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Home, in PJs and snogging my #bpgawards gong for radio broadcaster of the year. I have no idea what I said on stage as it was a bit overwhelming so thought I’d say it properly here: Thank you so much to the BPG team, my wonderful @bbc6music and @bbcradio4 colleagues and OBVS to our listeners. I have the best job in the world and one of the things I am so grateful for is that it has taught me to do things juuuust before I think I can (ie to make the leap when I’m almost ready but don’t quite feel it yet). Sometimes I fell on my face but mostly it worked out and even more often I ended up having the most interesting, hilarious, worthwhile professional experiences precisely because I tried things before I waited until I was overqualified/over prepared/10lb lighter/the kind of woman who looks casually amazing and has an upscale yoga lifestyle. My life is full, surprising, immensely rewarding and I’m never *quite* ready for any of it - maybe that’s part of the fun? Thank you most of all to my sensational family for their love & support 🥂

A post shared by Lauren Laverne (@laurenlaverne) on Mar 15, 2019 at 11:52am PDT

As a teen Pop-Punk artist or just starting out on radio, could she ever have imagined she’d be where she is now?! Laverne might have said that she is never quite ready for all the challenges and busy life…but her family extends to those who wake up with her every morning. She might not realise the impact her words have on us out there – as she cannot see us and it can all be a bit abstract – but there are countless stories in countless settings where our lives, short or long-term, have been improved by broadcasters like her. She is still a young woman and I do wonder just how far Laverne can go in the next few decades – that thought might scare the crap out of her (sooooorrrrrry…)! Every award and listener figure boost she gets shows how many people rely on her so, if you have not heard Lauren Laverne checking in like a champ every morning, then you really owe it to yourself to go…  

PHOTO CREDIT: Marks and Spencer

CHECK her out.

FEATURE: Left of the Centre: Pushing Great Women to the Forefront and Redressing Imbalance

FEATURE:

 

 

Left of the Centre

IN THIS PHOTO: Lizzo (her album, Cuz I Love You, is out on 19th April)/PHOTO CREDIT: Cameron Wittig

Pushing Great Women to the Forefront and Redressing Imbalance

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MAYBE I am sounding like a broken record...

 PHOTO CREDIT: iStock

but, with every passing week, there seems to be some report or article that highlights gender inequality and discrimination. This Guardian article talked about black women in the industry and how there is a big problem with genres, especially Grime. How many women are being promoted in the Grime sector and, aside from that, how many black women does one see highlighted and successful in the mainstream?

“I recently asked the same question in a documentary with BBC Radio 4 and though there were several answers, the one that felt most pertinent is that this is hardly a “grime problem”. The music industry as a whole has a dearth of black women. Whether it is pop music or more so-called “urban” sounds such as UK rap and Afro-bashment, black female artists are very rarely heard above the underground. Even in styles such as afrobeats (where gender is the issue as opposed to race) you’ll likely name heavyweights such as Wizkid, Davido, Burna Boy before one female artist.

In more soulful British pop and R&B, the likes of Jess Glynne, Adele and Jessie J are the major faces. Whatever the genre, it is hard to think of a black woman who has had the same commercial success as them – at least, without jumping ship to the US as Sade did”.

It is clear that there is an issue with race and the fact that, in most genres, black women struggle the most. I have written countless articles regarding gender and the fact there is so much work to be done – and how little movement has been made the past few years.

 IN THIS PHOTO: Little Simz (whose album, GREY Area, is among the best of 2019 so far)/PHOTO CREDIT: Jack Bridgland for CRACK

I have written about the lack of women in headline spots and how this is a major issue. I feel the best work of this year has been produced by women. Think of everyone from Little Simz to Julia Jacklin and I think women are making the most interesting and arresting music around. I know festivals are trying hard to balance their line-ups but headline slots are still going to men – and, let’s face it, some rather boring artists! I do hope 2020 is a year when we not only see more women further down the bill but more headlining. 2019 is being dominated by women so I feel it is criminal that so many are being overlooked. I could go on for ages regarding the best female artists around and, look at the underground, and there are countless great female-led bands/artists; solo acts and duos who are pushing music in new directions. I do feel like there are improvements happening but how often do we see women pushed and idolised the same way as men? Look at music magazines and what stares back at you: largely, there are familiar men and I wonder why women are, for the most part, being shunned. I do think that the last couple of years has been ruled by women and, when I want to find innovation, style and passion, then it is female artists I gravitate towards.

 IN THIS PHOTO: Lana Del Rey (she will be releasing her hotly-anticipated album, Norman Fucking Rockwell, soon)/PHOTO CREDIT: Getty Images/Press 

I can name at least ten world-class albums of 2019 from women that top anything by a male act and we still have albums to come from Lizzo (Cuz I Love You) and Lana Del Rey (Norman Fucking Rockwell). I do not think it will be a whitewash from women this year but I would be shocked if anything but male artists tops the best from the women right now. We know the strength of music being made by women – this has been the case for so long. Whether this translates to festival bookings and success I am not sure. What does need to happen is how women are (under)represented in the media and still have to struggle. Entire genres are being dominated by men and it is undeniable there is such a wave of immense female talent waiting to come through. Not only do the finest female artists around deserve better than they get but we need to ensure that the industry changes its values and we do not continue to see such an imbalance. It is not just festivals and the mainstream that has a problem recognising the finest female artists around. I found this report from a Canadian website that highlighted the proportion of female songwriters and producers (compared to men):

“A report published in February 2019, by the USC Annenberg Inclusion Initiative, stated that of  the top 100 songs of every year, only 21.7% were by women artists. The report also found that 12.3% of songwriters and 2.1% of producers of those songs were women and that women producers are outnumbered 47 to 1 by male producers.

In response to this report the Canadian Music Publishers Association recently launched a mentorship program, Women in the Studio. This initiative is designed to “provide the cohort with opportunities for skills development and networking opportunities that they would otherwise be unable to access”.

 IN THIS PHOTO: Producer and engineer Catherine Marks (she is one of the most successful and talented in the business and has worked with the likes of The Amazons and St. Vincent)/PHOTO CREDIT: Catherine Marks

I keep mentioning the great female producers around and why they warrant acclaim. Award-winning producers like Catherine Marks, Lauren Deakin Davies and Sylvia Massy continue to do amazing things and are helping to bring about awareness. I am especially a fan of Catherine Marks and the work she does; the variety of artists she has produced for and how influential she is – and is acting as a really strong role model for female producers. Producers in general get comparatively little attention in the industry but the role of the producer is vital and undervalued. I have noticed women in radio and how strong their voices are. From Arielle Free and Sara Cox to Dotty and Lauren Laverne; Georgie Rogers to Annie Nightingale and Elspeth Pierce, there are so many great women who, one suspects, are being paid less than their male peers. The disparity regarding women in radio and how few are given the bigger shows worries me. I do not want to cover too much ground I have explored before but I do think these great women need to be put in focus. Like the best music coming out right now, I find that the most appealing and interesting voices in radio belong to women. There have been some changes regarding gender imbalance on the big stations but not enough. It seems, in every corner, women are either being ignore or provided fewer opportunity than the men.

 IN THIS PHOTO: Carly Wilford is a successful D.J., businesswoman; public speaker and presenter/PHOTO CREDIT: Tom Jamieson for Huck

From the super-producers and headline bands to the biggest D.J.s, those in power and the innovators, we need to get away from the male-dominated attitude and start recognising women more. From Country radio in America prioritising men to the festivals not acting fast enough, so many problems need addressing. Not only is it frustrating to see so little big progress but a general ignorance means that many great artists and talent and struggling. I have sort of skimmed the surface and mentioned a few names that I really love but, to be honest, it would take hours for me to pay proper tribute to all the great women who have helped shape my music tastes and inspire me today. This great article is one I stumbled on when I wanted to look at the finest albums by female artists. It is amazing seeing how many classics are there and, when we think about it, how much the industry owes them. We live in an age when anyone can put out music and it would be naïve to say that women are being held back when it comes to recording and getting their material heard. I do think a lot of the issues stem when it comes to the top of the industry and those who make the decisions. Emily Eavis has said how she feels the male-dominated culture at festivals like Glastonbury is impenetrable.

 IN THIS PHOTO: Emily Eavis/PHOTO CREDIT: Katherine Rose

This article goes into more detail. Eavis is keen to see progress but she described a typical viewpoint/impression of a male booker and those in charge:

“"They love a beer with the guys, the agents. They do golf days, they do football trips, and there's a whole brotherhood which is so tight. It's impenetrable. It feels like it. I'm like, 'Come on'.

"I know they are labelling me as a real hassle, and it's such a hassle. 'Will you just shut up' and 'It wasn't like this when your dad was in charge’”

Men in every genres and corner of music need to be more vocal regarding women – I think there is not enough being done by them. Whether it is Grime and Rap addressing gender imbalance or those in the mainstream speaking out against inequality and asking for change. The fact that statistics keep coming out regarding the amount of hits written by men compared to women in shocking. Many might say this indicates a lack of talent from women but that is not true. There are countless incredible female writers, producers and engineers that are not finding as many opportunities as the guys. I do worry that, unless there is some sort or revolution or radical change, these statistics will remain. Will festivals book women to headline and will genres that have an imbalance start recognising talent and opening its doors regarding women and their worth?! I do think a lot of the issues can be addressed and overcome by those in charge.

 PHOTO CREDIT: Help Musicians UK

There are women who run labels and book festivals but, largely, things are still male-dominated. Most articles regarding sexism and gender inequality are by women and when it comes to speaking out and asking for progress, are men doing enough in general?! Whilst it is not true that women in every corner of music are being marginalised, I do think there is anything close to parity. In terms of merit, some of the best music around is being by women and it is not converting to acclaim and adequate attention. Music is going to be removed from the school curriculum and will that make it harder to see more women in studios and working for labels?! Innovating and bold women like Rhiannon Mair, Olga FitzRoy and Carly Wilford are all names I have mentioned before – and might get sick of me name-checking them a lot – but more needed to be done by men. There are panels, discussions and symposiums where strong female artists, producers and D.J.s (and others) talk and provide this education. If we are seeing some small steps being made – and there is development in some areas – I do feel like it is women pushing this.

 IN THIS PHOTO: Olga FitzRoy alongside Rhiannon Mair are both newly-elected directors to the MPG (Music Producers Guild) Executive Board/PHOTO CREDIT: Music Producers Guild/Rhiannon Mair

Articles like this show an issue in Pop whereas this feature shows the industry has a long way to go until there is genuine equality. It is pleasing to see that there is movement and steps taken; there is hope that, years from now, we might be close to balance. Given the fact there are so many epic and pioneering women in all sections of the music industry, does the media, festivals; labels and other men in the industry need to do more to highlight them? Organisations like Women in Music and Help Musicians UK are doing sterling work but I do wonder whether a lot more shout and energy needs to come from men. How often does one see male journalists speak out and label bosses asking for change and greater progress?! Maybe it would be risky to do so but, with such a one-sided and female-led drive, is it enough to penetrate and resonate? From Classical music to Internet radio; to the studios and mainstream through to bedrooms and the club circuit, there are some amazing women who are inspiring and hugely impressive. We want to think that the music industry can compel girls and young women and, if they want to be a producer or a successful songwriter, then there is no fear and barriers. So many great women are working hard to change attitudes but a few recent news stories have affected me.

PHOTO CREDIT: @hannynaibaho/Unsplash

From Emily Eavis trying to rally against the golf-playing executives who laugh off her suggestions of more women at Glastonbury to the Government feeling music in schools is expendable…what does this mean for music and gender equality? I think the biggest lessons and the greatest sense of guidance comes at school age. Apart from the amazing talent out there, how are we going to foster the next generation of female producers, musician and talent? I shall resist writing too much about discrimination and imbalance for a while but, whilst some good and positive steps are happening in some places, there are heels digging in where we do not need them. I am not sure whether there is a quick solution regarding bringing about equality but there needs to be more action and impetus from the Government and the big names in the music industry. I am always passionate when it comes to women in every area of music but I know for a fact they have to shout louder and struggle harder than the men. This is not a happy situation and I do worry what example this is setting for future generations. Whether it is more men shouting themselves or something else, I do feel like so many ultra-talented and passionate women are not being rewarded. Rather than let progress trickle on and assume that things will catch up eventually, I think it is paramount that men – in power or just those in the industry – do a lot more to ensure that women are pushed…

 PHOTO CREDIT: @globelet/Unsplash

TO the forefront.

FEATURE: A Circus Inside of a Snow Globe: Kate Bush’s Tour of Life at Forty

FEATURE:

 

 

A Circus Inside of a Snow Globe

IN THIS PHOTO: Kate Bush on the stage and alluring during her 1979 bonanza, Tour of Life/PHOTO CREDIT: Getty Images/Press 

Kate Bush’s Tour of Life at Forty

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I do promise that I will ease up on the...

 IN THIS PHOTO: Kate Bush in action during the Tour of Life/PHOTO CREDIT: Getty Images/Press

Kate Bush articles until, well, there is cause to celebrate an album, new or old. In fact, it is important we mark anniversaries regarding her music. Today, I look ahead to tomorrow because it is an important day in her history. On 3rd April, 1979, Kate Bush started a twenty-two date tour, her first-ever, at the Liverpool Empire – she did a warm-up concert the night before. She would then embark on a six-week tour of Europe with the show and brought her music to fresh faces. Given the fact that Kate Bush’s debut album came out the year before – The Kick Inside – one could forgive her for producing a debut concert that was a bit basic and just got the hits out. The Tour of Life (also officially referred to as the Kate Bush Tour) was her performing songs from her first two albums – Lionheart also came out in 1978. There was a lot of talk and excitement regarding Bush at this point and, invariably, people wanted to see her on the stage. Of course, 1978 was a mixed year. She achieved her dream by releasing an album. In many interviews Bush has talked about that desire she had regarding just having an album out in the world. If she has somewhat distanced herself from The Kick Inside – claiming it was a bit airy-fairly and not as raw/masculine-sounding as she’d hoped; a need for more control over her musical direction – Lionheart was a fast follow-up and an experience she did not really enjoy. That might sound like a rather cold and unappetising recipe for a concert series that lacked heart and meaning.

Rather than being a disappointment and something Kate Bush was being forced into, she took to the project with determination and passion. I shall end with her second-ever tour/series later but, in 1979, there were very few artists doing what she was doing. David Bowie and others were bringing characters and something theatrical to the stage but nothing that rivalled Bush’s concept. One can claim Bush helped engineer the wireless microphone because, as she would be live and dancing throughout the show, she would not be holding a microphone. Pop artists since have been using this technology to ensure they could produce a more energetic, physical and ambitious show! During the Tour of Life, Bush fused magic, mime and high-drama to give the audience something spectacular and unique. Look at the videos – rather grainy and scratchy – from that tour and you marvel at the costume changes and the sets for each song. It was not a case, like many artists today, where there is this rather routine performance and the focus is on the song itself. Bush created this little world for each song and ensured that the visual aspect was as important as the sonics. Indeed, rehearsal and documentary footage shows she was determined to make the songs as tight and down-pat as possible. If there was a wrong note or drum fill out of place, she would let her band know! She was paying the wages and, for that reason, she could not have it go wrong! There was a brutal regime when it came to getting everything figured. The band and Bush were working five-day weeks for six-to-eight weeks. She was rehearsing her choreography at The Place and then convene with her band at Wood Wharf Studios, Greenwich in the afternoon - continuing her practice and dance back at her flat late into the night.

Fans and the media knew what The Kick Inside and Lionheart sounded like through their record players and realised that this special and promising young woman was making some truly beautiful and original music. Apart from that, there was not really much known. How would she bring these albums to the stage and would this relatively new musician be able to cope with such a grand and multi-layered production?! Not only did critics rave but the audiences packed in to see this bonanza! She made sure members of the Kate Bush Club got tickets but, through its run, there were barely any empty seats. From the Tour of Life, there came the E.P.s On Stage (1979) and the video, Live at Hammersmith Odeon (1981) – an important part of London that would play a role in her 2014 return to the stage. This was not the only time Bush had the chance to bring her music to a wider audience. She was offered the chance to support Fleetwood Mac at the end of 1978 but she knew that their tour support slot would not be right. She’d not be able to express herself in the way she wanted and have enough time to give a proper performance.

IN THIS PHOTO: Bush, brolly in hand, wows the crowds for the Tour of Life/PHOTO CREDIT: Getty Images/Press

I look at the footage of Bush and her band rehearsing for the Tour of Life and a lot needed to be ticked and perfected before they stepped onto the stage. A lot of the rehearsals revolved around Bush’s band getting to grips with the song structures and adapting from the studio to the stage. Twenty-three songs were penciled in from Bush’s first two albums - Oh, to Be in Love was the only one not included on the set-list. James and the Cold Gun (The Kick Inside) was the end of the main body of the show; a wonderful set-piece where Bush was ‘gunning down’ dancers in this dramatic interpretation. There was debate how to get the effect of blood. The idea of using film blood was mooted but that left pink stains on the ramps/set and was not deemed practical - red silk was used until the final night when, naturally, they had just cause to go for it!

 IN THIS PHOTO: Kate Bush looking happy to be in Liverpool in 1979/PHOTO CREDIT: Getty Images/Press

Bush had a say when it came to fabrics and set; she was in on all aspects and not a performer who was at the centre and let everyone make the calls. In other ways, she changed the role of musicians in live shows and gave them a voice. Various members of the tour crew - including the set designer, David Jackson - noticed how Bush had a very dogged and determined style of management that was quite intense and, at times, confrontational. This was the first real occasion when Bush allowed a degree of autonomy and, as it was her music, there was responsibility at her feet. Certainly, the Tour of Life offered this new world for artists. Rather than having a basic set and performing in a very straight way, there was a chance to open the imagination and utilise technology at the time. Her Tour of Life wanted something theatrical and moving to contrast the usual style of Rock musicians of the 1970s. Not only was her use of a head-mic unique but she performed using playback - unheard of in the 1970s. Soon enough, big artists brought their tours to stage and followed Bush’s lead: David Bowie (Serious Moonlight/Glass Spider), Prince (Lovesexy); Madonna (Blond Ambition) and U2’s Zooropa had threads and elements of Kate Bush’s theatrical and groundbreaking tour. Music, poetry and the biblically eye-opening mixed alongside one another in a four-section show that took the audience through her first two albums. Rather than rattle off the hits and do things chronologically, Bush created this immersive, sense-awakening show that boasted some of the most ambitious sets and performances up until that time.

IN THIS PHOTO: Kate Bush in charge and bold during a Tour of Life performance/PHOTO CREDIT: Getty Images/Press

It is hard to overstate just how ground-breaking the Tour of Life was and what it did for music. There were artists providing these big sets and shows but, in terms of Pop solo artists, this was unheard of. Look at artists who followed Kate Bush – such as Madonna and Britney Spears – and how you can see the Tour of Life’s elements in their work. Bush, modest as ever, did not expect the rapturous reception and seemed a bit shocked by all the positivity. She had worked hard on putting together her first tour and it paid off! It is no surprise that the tour was a success after the effort and money invested. Although EMI (the record label Kate Bush was signed to) was not involved, the tour still cost up to £250,000 - an eye-watering sum in 1979! There were battles with budgets considering Kate Bush’s scope. She was fitting these epic sets into smaller venues. Whether it was lighting or set design, compromises had to be made but Bush was determined not to be steamrolled.

The tour itself almost didn’t happen. Following a warm-up gig at Poole on 2nd April, the lightning engineer, Bill Duffield, was killed in a freak accident. He performed a ‘dummy check’ where he ran around the venue to ensure nobody was left there and there were no bags/bits of kit etc. the crew had forgotten. It was quite dark and he fell from a seating structure in the venue. There should have been warning lights and barriers; there should have been signs but, when trying to step onto a ledge that wasn’t there, he fell onto concrete and died in hospital. It was a tragic accident and one that should not have happened. Kate Bush was, naturally, distraught and considered calling off the tour. She later wrote the song Blow Away (for Bill) in memory of Duffield and the first of her three London dates was a benefit concert for Bill Duffield. There were so many positives from the tour and, in spite of a raw tragedy and loss, there was more good than bad. Critics heralded this staggering artist who had created something unlike anything else! The concept of live performance would change and, whether she knew at the time, Bush was able to inspire and guide legions of other artists. Every interview since 1979 seemed to focus on one thing: whether Bush would ever perform again. That was not the only question people were interested in but she could not dog that demand and speculation.

 IN THIS PHOTO: Bush poses in front of a shop in Amsterdam in 1979/PHOTO CREDIT: Barry Schultz

Having produced such a celebrated and wonderful first tour, everyone was keen to discover whether Bush would follow it soon. Few realised how much energy Tour of Life took out of her. Even from a performance perspective, she was drained every night. There were moments when crew almost had to carry her off stage (at the end) because she was wiped and had put so much of herself into the show. This was what she wanted but there was not a lot of chance for Bush to party and socialise after the show because of fatigue. She became used to flying pretty soon but was not a fan of it early on. International commitments were part of her career but something, one feels, she did not always enjoy. Maybe another tour would demand she played around the globe and, in terms of physical demands, that would be a huge ask. Given the tragedy surrounding Duffield, that had taken its toll and she did not want to see that happen again. Also, the effort and imagination needed to put the Tour of Life together was huge and she could not simply trot out another show like that! Bush committed herself to albums after 1979 and did do T.V. performances and the odd bit here and there. She loved doing the tour but it was very demanding on her time and body, and so, going through all that again was not as attractive as one might suspect. Bush, in 1979, also wanted her work to be taken seriously and be seen as a serious artist. In the studio, engineers and producers were as much a part of the work as she was: touring allowed a sense of freedom and expression she had not been afforded by EMI/those who guided her first two albums.

As I said, every journalist was asking whether she would tour again and, even when promoting 2011’s Director’s Cut/50 Words for Snow, that question kept coming up. She deflected it by saying that she had no plans and that, yes, she enjoyed her 1979 tour – she was not sure whether she would play again but was always open to it. It was a shock to everyone to see her on stage in 2014, at the Hammersmith Apollo, to perform Before the Dawn – some thirty-five years since Tour of Life. Unlike that debut tour, this was more of a residency: Bush was at the same venue for the run of dates but the concept/ambition of the show was no less impressive. Whereas Tour of Life took from Bush’s first two albums, Before the Dawn focused on the song suites from Hounds of Love (1985) and Aerial (2005). I was not lucky enough to get a ticket for the show(s) but everyone who went was seduced and stunned. Taking mainly from Hounds of Love’s The Ninth Wave and Aerial’s A Sky of Honey, she did sprinkle songs from other albums in the mix – although she overlooked her first couple of albums (she could not fit everything in and did not want to repeat herself). Bush’s son, Bertie, was largely instrumental in getting his mum back on the stage. He inspired her album, Aerial, and there were reservations from the icon.

It was a big undertaking and not one she took lightly. With him adding backing and drive, Bush created another show that blew people away. Before she took to the stage again, articles came out that wondered what we’d get this time. In a space that was familiar to her, Bush created another spectacular for the senses. A cast of musicians, masks; visuals and brilliantly-conceived performances meant that this enigma and cherished artists was captivating a new generation of fans. In many ways, she had to top herself and equal what came in 1979. Before the Dawn was a different beast but one no less impressive than her debut. Reviews were impassioned and everyone had kind words to say. Consequence of Sound assessed it in these terms:

“While it’s tempting to look at this as an endpoint — a final and well-deserved victory lap — Bush has described this album as “a rather big comma.” This isn’t the end, apparently, and nor should it be. If anything, Before the Dawn is living, breathing proof that Bush still has the creative prowess and unique sensibilities that made her a superstar in the first place. Like most live albums, this is not essential listening for new or casual fans. However, for dedicated fans, both those who could and could not attend the run of shows, it is a reminder of the still very potent lust for life that Bush has always exhibited in her music, art, and personality. It’s a reminder that fear can be conquered in the most ambitious and uplifting way, that fear does not define who we are”.

Questions will circulate, even now, whether there will be another tour. She has not released another studio album since 2011’s 50 Words for Snow so we are waiting for that. I suspect there will be something coming in the autumn but cannot be sure. She is now sixty and, whilst peers her age are still on stage and performing high-octane shows, where would the material come from? Which albums would she take music from and would she be up for another exhausting and time-consuming show? My suspicion is that we will never see another tour/residency because of all of these factors. Maybe she will change her mind but I do feel that there will be albums from Kate Bush but no more gigs. One can never predict with her and say where she might head. We could not predict Before the Dawn and nobody expected anything as grand and memorable as the Tour of Life back in 1979.

IN THIS PHOTO: Kate Bush’s delivering Before the Dawn at the Hammersmith in 2014/PHOTO CREDIT: Ken McKay/Rex Features

It is strange to think that this excited and eager artist stepped onto the Liverpool stage on 3rd April, 1979 and would soon change the way we viewed the live show. Kate Bush had already set one record (Wuthering Heights was the first time a British female artist had hit number-one with a self-penned song) and 1980’s Never for Ever would set another (the first British female artist to have a number-one album) but Tour of Life…that was something else! Bush not only upped the live experience but showed what was possible regarding visuals, technology and sets. So much of what was seen in 1979 has translated to performances ever since. She would not have known, back in 1979, the impact her tremors would cause but, forty years since she opened her Tour of Life revelation, artists are still trying to equal…

IN THIS PHOTO: A typically eye-opening shot from Kate Bush’s Tour of Life set/PHOTO CREDIT: Getty Images/Press

HER debut live tour.

FEATURE: Strictly for the Diehards: Thirteen Underwhelming Albums by Great Artists

FEATURE:

 

 

Strictly for the Diehards

PHOTO CREDIT: @gabriellehenderson  

Thirteen Underwhelming Albums by Great Artists

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IT is inevitable that every iconic and brilliant...

 PHOTO CREDIT: @romankraft/Unsplash

artist releases a less-than-thrilling album if they put out enough work. If they are especially pioneering and popular, it can be quite a shock seeing something a little half-baked or unspectacular come into the market and change our perceptions. A lot of times, this rogue album does not derail momentum but, instead, provides an interesting anomaly. From The Beatles and David Bowie to Joni Mitchell and Arcade Fire, I have united thirteen artists who added a black spot to their otherwise (largely) incredible consistency. Rather than revel and highlight imperfection, I wanted to show that some of the best artists of all-time have had a misstep; they have not always come up to their golden level but, in the end, they always bounce back. You might have your own perception and choices but here, for your delectation, are thirteen occasions when huge artists…

 PHOTO CREDIT: @luzfc/Unsplash

FAILED to meet their high standard. 

ALL ALBUM COVERS: Spotify/Getty Images

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Guns N’ Roses – Chinese Democracy

Release Date: 23rd November, 2008

Labels: Geffin/Black Frog

Producer: Axl Rose/Caram Costanzo

Redemption Song: Chinese Democracy

The Artist’s Album Masterpiece: Appetite for Destruction (1987)

Review:

“In an April Fools' review of Chinese Democracy written two years ago, Chuck Klosterman suggested that if it wasn't the greatest album ever released, it would be seen as a complete failure. Chinese Democracy needed to be a spectacle-- something that either validated its tortuous birthing process or a Hindenberg so horribly panned it would somehow validate Rose as a misunderstood genius. Instead, it's simply a prosaic letdown, constructed by a revolving cast of misfits ultimately led astray by a control freak with unlimited funding and no clear purpose, who even now remains more myth than artist”- Pitchfork

Led Zeppelin – In Through the Out Door

Release Date: 15th August, 1979

Label: Swan Song

Producer: Jimmy Page

Redemption Song: In the Evening

The Artist’s Album Masterpiece: Led Zeppelin IV (1971)

Review:

“A bit of a mess, really. As the Seventies drew to a grim end, guitarist Jimmy Page and John Bonham were increasingly debilitated by substance and alcohol abuse, forcing vocalist Robert Plant and multi-instrumentalist John Paul Jones to assume control of the sinking balloon. Muddy production, perky synths, jaunty pop rhythms and an orchestral ballad make these songs barely recognisable as the heaviest band in history”- The Daily Telegraph

Madonna – MDNA

Release Date: 23rd March, 2012

Label: Interscope

Producers: Various

Redemption Song: Turn Up the Radio

The Artist’s Album Masterpiece: Ray of Light (1998)

Review:

“We all know that Madonna is an extremely intelligent woman-- even if she's never been known for penning great lyrics, it's easier to take the mesmerizingly dumb lyrics of tracks like "Superstar" and "B-Day Song" as spiteful trolling rather than vapid pandering. It doesn't really matter whether or not this drivel is insulting to Madonna's audience-- the most loyal fans seem to embrace being submissive to her domineering persona-- but it is disheartening when one of the most influential pop artists of the 20th century is tossing out the world's umpteen-millionth "Mickey" retread as a lead single. She's the one who deserves better”- Pitchfork

David Bowie – Never Let Me Down

Release Date: 20th April, 1987

Label: EMI America

Producers: David Bowie/David Richards

Redemption Song: Day-In Day Out

The Artist’s Album Masterpiece: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

Review:

“David Bowie broke away from the mainstream pop of Tonight with 1987's Never Let Me Down, turning out a jumbled mix of loud guitar rockers and art rock experiments like the failed "Glass Spider." While it's not as consistent as Tonight, it's far more interesting, with the John Lennon homage of the title track being one of his most underrated songs”- AllMusic

Bob Dylan – Self Portrait

Release Date: 8th June, 1970                          

Label: Columbia

Producer: Bob Johnson

Redemption Song: All the Tired Horses

The Artist’s Album Masterpiece: Blonde on Blonde (1966)

Review:

“It may not be worth the effort, either, since this isn't a matter of deciphering cryptic lyrics or interpreting lyrics, it's all about discerning intent, figuring out what the hell Dylan was thinking when he was recording -- not trying to decode a song. There are times where it's quite clearly played for a laugh -- if his shambling version of "The Boxer" isn't a pointed parody of Paul Simon, there was no reason to cut it -- but he's poker-faced elsewhere, and the songs (apart from such earthed gems as "Mighty Quinn," which aren't presented in their best versions) are simply not worth much consideration. But, in a strange way, Self Portrait is, because decades have passed and it still doesn't make much sense, even for Dylanphiles. That doesn't necessarily mean that it's worth the time to figure it out -- you're not going to find an answer, anyway -- but it's sort of fascinating all the same”- AllMusic

Prince – Come

Release Date: 16th August, 1994                                    

Label: Warner Bros.

Producer: Prince

Redemption Song: Space

The Artist’s Album Masterpiece: Purple Rain (1984)

Review:

“Prince-philes will already be aware of the Clinton (“Hollywood”) and Staples (“You Will Be Moved”) tracks, which appear on their most recent albums. There’s a rousing performance by the Steeles (“Color”), the return of the instrumental funk terrorists Madhouse (“17”) and “Love Sign,” a duet between (The Symbol) and Nona Gaye that is appropriately twitchy. The biggest surprise comes from Minneapolis native Margie Cox, whose “Standing at the Altar” is a buoyant single that finds (The Symbol) paying affectionate homage to the Motown hit machine….Still, no big meaning on this set. Maybe it’s a mistake to expect such things from an artist whose focus is drifting from his art and who is increasingly settling on semantic games about what he should be called. Maybe someone who has contributed so much, whose ideas have broadened the very canvas on which everyone else works, deserves to trash everything while waiting for the next inspiration to arrive. That doesn’t mean we have to suffer patiently beside him”- Rolling Stone

Oasis – Heathen Chemistry

Release Date: 1st July, 2002

Labels: Big Brother/Epic

Producers: Oasis

Redemption Song: Stop Crying Your Heart Out

The Artist’s Album Masterpiece: Definitely Maybe (1994)

Review:

“The more cynical among you may suggest that things have gone desperately awry when the best song Oasis can come up with bears comparison not to I Am the Resurrection but a track from the Stone Roses' rubbish second album. The more cynical among you would be right. There is a finality about Heathen Chemistry, the band's third hopeless attempt in a row. The last time Oasis released a decent album, John Major was PM, Nick Leeson was bringing down Barings Bank and Robson and Jerome were number one. Oasis got to the top and, with Heathen Chemistry, they have finally got down. As it plays, however, you can't help thinking: there has to be a more dignified route than this”- The Guardian

Janet Jackson – 20 Y.O.

Release Date: 26th September, 2006                           

Label: Virgin

Producers: Various

Redemption Song: So Excited

The Artist’s Album Masterpiece: The Velvet Rope (1997)

Review:

“Well, it beats Damita Jo. The dirty talk that helped sink that 2004 Janet Jackson disc is dialed down from 11 to 8 on the raunch meter. And co-producer/beau Jermaine Dupri’s electro-crunk, which dominates 20 Y.O.‘s first half, nicely complements the quiet storminess favored by her old standby producers, Jimmy Jam and Terry Lewis, in the second. But sharp production can’t mask the absence of any standouts likely to be remembered 20 months from now — a big minus when the title intends to remind you how well her ’86 break-out, Control, has held up after 20 years”- Entertainment Weekly

The Beatles – Yellow Submarine

Release Date: 13th January, 1969                                  

Label: Apple

Producer: George Martin

Redemption Song: All You Need Is Love

The Artist’s Album Masterpiece: Revolver (1966)

Review:

“Naysayers have their own reasons to why Yellow Submarine is a weak Beatles effort, and in some ways they might be right — after all, The Beatles only contributed six of 13 songs (two having been previously released). However, as a whole, Yellow Submarine is a delightful album, even if it’s still a less-than-acceptable inclusion in the Beatles canon. In its defense, every single Beatles track is solid and encompasses the listener with joy and chaos, quantity notwithstanding. If this were a review of solely the Beatles EP portion, four and a half stars could gloriously stud the page, which is what should matter. However, the soundtrack as a whole stands on a weighted three and a half, bogged down by a wonderful yet overbearing score that, with all due respect to Martin, should have been sold separately.

Yellow Submarine is not the red-headed stepchild; it just never had the disc space and necessary LSD to display its true colors. Our guess is that all went wasted toward the filming of Sgt. Pepper’s (perhaps the walrus ate it all)”- Consequence of Sound

Arcade Fire – Everything Now

Release Date: 28th July, 2017                                          

Labels: Sonovox/Columbia

Producers: Arcade Fire/Thomas Bangalter/Steve Mackey

Redemption Song: Everything Now

The Artist’s Album Masterpiece: Funeral (2004)

Review:

“On “Creature Comfort,” Butler sings about someone attempting suicide while listening to Funeral. In the world of Everything Now, it works as this shocking, bemused moment of interconnectivity. The way he sings it—almost in passing—fits with the dazed and dead tone Butler conveys through his lyrics. But in the world outside the record, it’s callous and obnoxious, unpacked without grace or taste by a band who are historically committed to helping out those in need. Is this who they fear they’ll become, or is this who they have become? It’s a question the album fails to answer”- Pitchfork

Bruce Springsteen – Human Touch

Release Date: 31st March, 1992                                     

Label: Columbia

Producers: Bruce Springsteen/Jon Landau/Chuck Plotkin/Roy Bittan

Redemption Song: Human Touch

The Artist’s Album Masterpiece: Born to Run (1975)

Review:

“The reaction was exacerbated by the drawn-out release schedule that by 1992 had become common to superstars: this simply wasn't the record Springsteen fans had waited four and a half years to hear. Though at nearly 59 minutes it was the longest single-disc album of his career (which is not even counting the fact that a second whole album was released simultaneously), and though it contained several songs that could have been big hits -- the "Tunnel of Love" sound-alike title track, which actually made the Top 40, "Roll of the Dice," an AOR radio favorite, "Man's Job," and even "Soul Driver," which belonged on the next Southside album -- Human Touch was an uninspired Bruce Springsteen album, his first that didn't at least aspire to greatness. Springsteen may have put out the more substantial Lucky Town at the same time in recognition of the relatively slight nature of the material here”- AllMusic

Joni Mitchell – Dog Eat Dog

Release Date: October 1985                                           

Label: Geffen

Producers: Joni Mitchell/Larry Klein/Thomas Dolby/Mike Shipley

Redemption Song: Good Friends

The Artist’s Album Masterpiece: Blue (1971)

Review:

“Joni Mitchell here turned to guests like Michael McDonald, Thomas Dolby, Don Henley, James Taylor, and Wayne Shorter, continuing to straddle the worlds of California folk/pop and jazz fusion. Musically, it worked, although as a lyricist, Mitchell again took off after abstractions (one song railed against "The three great stimulants of the exhausted ones/Artifice, brutality and innocence"), such that, even when you could figure out what she was talking about, you didn't care”- AllMusic

Michael Jackson – Invincible

Release Date: 30th October, 2001                                 

Label: Epic

Producers: Various

Redemption Song: You Rock My World

The Artist’s Album Masterpiece: Off the Wall (1979)

Review:

“Ultimately, it is Invincible's quest for regularity that is its undoing. Jerkins's contributions aside, it expresses its normality through utterly anodyne music. Jackson emerges as strange and sinister as ever; this time, he sounds like a strange, sinister man who has made a boring and very long album. Tedious ballad after tedious ballad pile up over 16 tracks. Jackson strains away (on Speechless he even feigns tears), Carlos Santana pops up for a guest appearance, but the songs are unmemorable, not a Scream or Billie Jean among them. After 76 unremitting minutes, you're left in no doubt: like its creator, Invincible has simply gone too far”- The Guardian

INTERVIEW: Bay Ledges

INTERVIEW:

Bay Ledges

___________

IT has been interesting speaking with Zach of Bay Ledges...

about the band’s latest track, I Wonder, and whether there will be a follow-up to that song at all. I was curious regarding the band’s origins and what it is like taking to the road; the albums that mean the most to Zach and whether there will be tour dates.

He discusses what it is like being based in Los Angeles and whether the band all share musical tastes; the artist he’d support if he could choose anyone and what he does when he gets some free time – Zach selects a top song to end the interview with.  

____________

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

It’s been a good week so far. Been working on some new music, which always feels good.

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

My name is Zach Hurd and I have a band called Bay Ledges.

I Wonder is out now. What is the story behind the song?

I went in and worked with writer/producer Christian Medice on this song. We’d never worked together before and we’re drawn to different production styles so it was cool to talk about where I wanted the song to go, sonically. When you’re making music on your own, you don’t really stop to think about why you’re making certain choices.

I wanted the song to feel like tape from a cassette, kind of wobbly; so we messed around with some synth sounds to find those textures. Lyrically, I had recently gone through a breakup so those feelings just ended up becoming the theme.

Might there be more material coming down the line?

Yes. There’s definitely more material coming...I’m not totally sure about a release date yet but it’s on the way!

How did Bay Ledges come together and what were the early sessions like?

I started Bay Ledges about four years ago when I moved to Los Angeles from New York City. I got a job at a restaurant and started recording songs in my bedroom. At the time, I was feeling pretty lost and working on this music became something I could really throw myself into, even though I didn’t really know where it was going. Working on B.L. reopened a creative freedom I hadn’t really felt since I was a kid. I was just having a lot of fun with it.

The sessions consisted of me sitting at my desk for hours. I’d record my acoustic guitar and chop it up to see if I could make it sound different. I’d record my sister singing and then play around with her vocals too. It was basically me coming up with a song idea, recording it and then seeing how I could mess it all up in a way that sounded more interesting to me.

Do you all share the same music tastes in the band?

We don’t all listen to the same stuff - but there’s always some overlap which is good for long van rides (smiles).

Being based in L.A., how important is the scene and people there regarding your sound?

L.A. feels like a great place to be for making music right now. I lived on the West Side of town for my first couple years, right next to the beach (which was amazing). I think that drastic contrast of environment, coming from NYC, was really helpful for me at the time and I’m sure it seeped into the music. Now, I live on the East Side which is closer to a lot of venues and other musicians I collaborate with. I feel a little more accessible to what’s going on, musically.

I’m not sure if Bay Ledges would’ve happened if I hadn’t moved to Los Angeles. There were so many things that clicked for me when I got here. Both of my sisters were living here too - having that support really helped me feel a sense of ease and confidence.

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

A big one was going on tour this past fall and getting to meet fans. We live in a time where it’s easier than ever to release your music into the world but actually connecting with the people who are listening seems a bit rarer...especially for smaller artists like me. I was so humbled by how honest some people were about certain songs helping them through some really dark times. That kind of honesty inspires me to do the same in my life and in my music.

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

Ugh. There are so many but, if I have to narrow it down:

Odelay by Beck

This album got me thinking about songwriting in a new way. Realizing you don’t always have to write a specific story with your lyrics; that you can create a musical/lyrical collage that’s equally as meaningful. The Dust Brothers worked on this one too and all the different sampling going on is so amazing.

Thriller by Michael Jackson

It’s hard to think about MJ’s music the same way after everything that’s come out recently. That being said, Thriller was the first album I ever got...my aunt gave it to me for my fifth birthday. I was obsessed with it: the songs, his dancing…all of it. That album had a big impact on me.

The Last Waltz by The Band

This used to play in our house all the time growing up. My dad loved The Band. He was a teacher and used to have his classes come over to our house every year to watch the film by Martin Scorsese.

Yankee Hotel Foxtrot by Wilco

Jeff Tweedy writes beautiful songs and Jay Bennett’s instrumental contributions gave the album so much more depth. I was a little late to this album but listened to it nonstop when I got it. It sounds like they gave themselves freedom to try anything in the studio but were also able to stay true to the songs. It’s got Pop elements, Rock and Americana...it’s so many things blended together.

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

I’d love to open for Kendrick Lamar - that guy is incredible. For a rider, I would just want a tour of how his show is put together; it’s such a huge undertaking. I’d love to see what goes into putting on a show like that.

Are you planning any gigs in the coming months?

We’re working on some tour dates for May/June. Still in the works but we’ll have the dates up on bayledges.com soon.

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

I really hope so!

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

Performing is really important to me. It allows me to connect with an audience in a different way. In my experience, music has so much more of an impact when it’s happening right in front of you. Having the opportunity to express yourself on stage is a chance to show part of who you are as an artist. I love performing and working in the studio...both things satisfy different parts of me.

What is life like on the road with the band and touring? Are there lots of highs regarding touring?

I really love touring. It’s a funny existence. You spend most of your time in a van just waiting to get to the next town but the high from a great show makes you want to keep doing it. As a band, you become a little family because you’re spending so much time together.

Last tour, we got stuck in a four-hour traffic jam and decided to make up a ghost story together...it was a terrible story and so hilarious. You end up going home with all these little jokes and realize they don’t really make sense to anyone else.

IN THIS PHOTO: Mk.gee/PHOTO CREDIT: Erica Hernandez

Are there any new artists you recommend we check out?

A few I’ve been loving lately are: Mk.gee, Still Woozy; Neil Frances and MorMor.

IN THIS PHOTO: Still Woozy/PHOTO CREDIT: Palmer Morse

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

When your work is something you love it’s easy to never step away from it, so I’m trying to get better about taking breaks. I love meeting up with friends, hitting up a good coffee shop; going surfing or just being at the beach. I also really like taking trips out to the desert.

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).

Thanks for having me! Can you play Goodie Bag by Still Woozy. That song makes you feel good

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Follow Bay Ledges

Official:

https://bayledges.com/

Twitter:

https://twitter.com/bayledges

Facebook:

https://www.facebook.com/bayledges/

Spotify:

https://open.spotify.com/artist/7FhRUp59cBzPaxobsRY1Nc?si=ScHn43d_RwWLke-rohBrmg

Instagram:

https://www.instagram.com/bayledges/

YouTube:

https://www.youtube.com/channel/UCjc07JEgSZtfa1aS46SQoUg

PHOTOS:

Andrea Czarnota

FEATURE: You’re the Man: Marvin Gaye at Eighty

FEATURE:

 

 

You’re the Man

IN THIS PHOTO: Marvin Gaye/PHOTO CREDIT: Gems/Redferns/Getty 

Marvin Gaye at Eighty

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ONE would struggle to put down into words...

 IN THIS PHOTO: Stevie Wonder and Marvin Gaye/PHOTO CREDIT: Gilles Petard/Redferns

what Marvin Gaye gave to the music industry but, thirty-five years after his death, the man is still inspiring and influencing musicians. We all know huge hits like I Heard It Through the Grapevine, Sexual Healing and What’s Going On – proof there were so many sides to Gaye. Whether he was in political mindset and rallying against injustice or laying down an utterly seductive entice, the sheer power, passion and soul from his voice could buckle the knees! Some see him as The Prince of Soul - others as The Prince of Motown - and that is a pretty fair label. Huge, decade-defining albums like What’s Going On and Let’s Get It On (1970s) are hugely inspiring today and one can hear elements of his legacy in artists today. Gaye was tragically shot by his father on 1st April, 1984 during an argument.

Who knows what the icon could have gone on to create and how far he could have gone. Whether he was singing solo or duetting with artists like Diana Ross – the two released a duet album, Marvin and Diana, in 1973 –, Tammi Terrell (Ain’t No Mountain High Enough) or Kim Weston (It Takes Two) he was an electrifying, versatile and peerless performer. Able to convey such intense emotions whilst retaining a common touch is rare but it is something Marvin Gaye achieved. 1982’s Midnight Love received superb and passionate reviews and was sadly the final studio album he released. There have been posthumous releases and collections and it seems, so long after his death, we cannot get enough of him! There is a lot of treasure still being unearthed and introduced to new generations.

 IMAGE CREDIT: James Hendin

Throughout his career, Gaye transformed music but, perhaps, it is 1971’s What’s Going On that remains his finest moment. In this Mic article, the album is explored: how it inspired artists today and why it was so impactful when it was released. It was clear that, by the late-1960s, Gaye was changing music directions:

“In 1969 or 1970, I began to re-evaluate my whole concept of what I wanted my music to say," Gaye said, according to Rolling Stone. "I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home. I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world".

Not even Gaye himself would have expected the acclaim What’s Going On received and how it was perceived by the press upon its release:

"Gaye has designed his album as one many-faceted statement on conditions in the world today, made nearly seamless by careful transitions between the cuts," Rolling Stone wrote in its original 1971 review. He showed that all these issues are related — they're tied to one another, they're tied to each of us, and they're tied to pop music”.

Many do not realise how important the record is and how many artists are utilising its spirit and messages in today’s music:

“This is Gaye's and his album's most important legacy: a template for modern popular protest music. Some of the best protest artists today — D'Angelo, Kendrick Lamar, Alicia Keys, John Legend, Common, Lauryn Hill — owe enormous debt to Gaye. "It was more than just a piece of music," Legend said when he performed the entire What's Going On album at the Hollywood Bowl in 2014. "It was a landmark of social commentary".

As we remember his eightieth birthday tomorrow, make sure you listen back at the incredible breadth and scope of Gaye’s catalogue. From the social campaigner and voice to the rapturous, smooth-as-caramel Soul singer…there was no limit to the man’s talent. It would be good to have him in the world today because he would have a thing or two to say about the world in which we all live. Albums like What’s Going On, in a weird way, hold bigger meaning and are (sadly) as important today as back in the 1970s. The multi award-winning artist was inducted into the Rock and Roll Hall of Fame in 1987 and it is undeniable how important he was regarding the Soul and Motown scenes. There has been nobody like him since but, as I say, one can hear elements of Gaye in so many artists today. It is that kind of influence that makes you realise what a special force he was and how sad it was his life was cut tragically short. Rather than lament and wonder what could have been, let’s listen to the wonderful music of Marvin Gaye to mark his eightieth birthday. He departed the world in 1984 but, in so many ways, he still walks…

 PHOTO CREDIT: Getty Images/Press

AMONG us all.

FEATURE: An Arizona-Shaped Hole in the Lizard’s Shadow: Taking Risks and Pushing the Album in New Directions

FEATURE:

 

 

An Arizona-Shaped Hole in the Lizard’s Shadow

Taking Risks and Pushing the Album in New Directions

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THIS is a period where I am revisiting aspects and ideas...

 PHOTO CREDIT: @suryavu

that I have included before. I am a big admirer of the album as an artform and think, even if you do not reinvent the structure and form of an album, you can create some big waves. By that, I mean you can add samples or make songs differ; have a range of genres working alongside one another in a bold and eclectic record. Think about how long the album has been around and, through the decades, how many artists have pushed the envelope and really done something unexpected?! We have had many classic albums, sure, but a lot of them are more conventional and straightforward. When The Beatles’ threw in a hidden track – Her Majesty – at the end of Abbey Road in 1969, that was quite a big step forward. They also had a song-cycle on the same album: tracks that flow into one another to create this single story. Abbey Road, in many ways, changed the game but even before The Beatles, artists were putting concepts and surprises in their music. I have used King Gizzard and The Lizard Wizard as the sort of ‘cover stars’ as they have, through their career, taken the album in new directions. I know there are some that throw in these twists through an album or play with our preconceptions. Maybe these shifts and differences are quite slight but, with the Melbourne band, you get these vastly different and radical records.

Not only are the guys pretty prolific – they put out five albums in 2017 alone! – but they do like to see what they can do with an album’s structure and limited. Their 2015 release, Quarters!, contained just four songs, all of them running in at 10:10. Their music melts the mind and introduces myriad scenes of mystery and magic but, confined to four songs, many bands would fail to release something that justified the concept. Quarters! is a  more laidback album that previous releases from King Gizzard and The Lizard Wizard; taking in more Jazz and Acid-Rock moments. Paper Mâché Dream Balloon was released in 2015 too – the band never rest or slack off! – and it was recorded with acoustic instruments only. That might not sound extreme but, for a group with such range and imaginations, it forced them to write a different type of song; work without a safety net in many ways. The band would go on to release Flying Microtonal Banana: recorded in quarter-tone tuning, where an octave is divided into twenty-four equal-distanced quarter-tones. The band used instruments modified for microtonal tunings and, again, they stepped in a new direction. Many might say that King Gizzard and The Lizard Wizard are a band who do not truly have a set sound so they do not have that commercial expectation – free to wander and do what they want regarding sound and content.

 PHOTO CREDIT: @iamjohnhult/Unsplash

A few artists put out concept albums but I wonder whether too many are unimaginative when it comes to records. We get the ten/eleven/twelve tracks and, aside from a mix of genres, do we get anything that reinvents the musical wheel? Maybe, in a bit to remain focused and tackle the competition, artists need to remain fairly accessible and not take too many risks. It is not only King Gizzard and The Lizard Wizard who are releasing this wonderful, weird and completely different albums all of the time. It is the 2016 album, Nonagon Infinity that defines King Gizzard and The Lizard Wizard at their experimental and brilliant best. Their eighth album, released in 2016, is designed to be played in an infinite loop: the record can be played back-to-front-to-back-to-front and the sound will not break. Like The Beatles having a song suite where different tracks fuse into a flowing whole, this album creates this single listening experience where the end of the last song matches the start of the opening song so that, in effect, you can listen to the album forever and it would not break. Imagine one of the mainstream acts doing that and there would be some raised eyebrows! I love when artists do something bold like this. It would not have to be something weird and out-there but changing our perceptions of an album and what can be achieved is what we need more of in modern music.

 IN THIS PHOTO: King Gizzard and The Wizard Lizard/PHOTO CREDIT: Getty Images/Press

When King Gizzard and The Lizard Wizard released their inventive album in 2016, critical reaction was impassioned. AllMusic had this to say:

“The energy level is mainly set to search and destroy throughout as the drums thunder, the lightning-fast guitars slash and burn, and the spacy vocals often break out into ecstatic shouts. The band has added some supercharged Sabbathy metal to its sound, and it works very well. The opening suite of songs punches fast and hard, like someone is slapping you repeatedly with a copy of a Saxon album. It's way more blown-out and weird than that, but you can hear a lot of late-'70s no-frills metal in the sound. The rest of the record is a little more varied, with moments of calm proggy respite, jazz-rock dreaminess, and blown-out psych-pop to balanced the frantic, sustained attack. The way the album is put together is an impressive feat, but almost beside the point since each song within the loop is worthy of standing alone. King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever. That can be debated, but at the very least artists like the Flaming Lips, Ty Segall, and others who think they are doing something cool and weird should check it out and take a few notes”.

It might be mind-boggling having a blank page that you need to fill songs with, let alone turning things on their head and coming up with an original concept. I do wonder whether the album form is becoming a bit too predictable and limited and, as such, many people are choosing songs and handpicking what they like.

You can release an album where the songs are pretty conventional but still have a sense of ingenuity and fun. Whether it is a case of stopping an album at the half-way point and then creating something truly unique for the second section; following in the footsteps of artists like King Gizzard and The Lizard Wizard and having these sense-altering and refreshing angles that are explored time and time again. Artists need not do something completely radical every time but once in a while, it would be good to see something that takes you by surprise. A bolder approach to form and narrative might also help get vinyl sales up, too. Maybe you only release an album on cassette or there are layers of sound that somehow reveal themselves after multiple listens; this would be suited to physical forms and, as such, we could see a resurgence in sales and interest. I like idea of releasing an album that would be suited to physical formats and manage to take them in new directions. Maybe there are these wonderful concepts and epiphanies that are yet to be realised because the album has not really taken many risks through the years. When we had concept albums in the 1960s and bands such as The Beatles took the alum to new realms…that was seen as radical and surprising.

 PHOTO CREDIT: @davidclode/Unsplash

Now, in 2019, have we evolved the album itself or are we resigned to the fact that people want their music right now and are not too bothered when it comes to throwing in these strange techniques and concepts? I would like to think that, a) we still love the album and listen to all the songs and, b) there are artists out there not too concerned with following the herd; experimenting with sound, tunings and logic and, in the process, taking music to wonderful new places. In the case of the much-mentioned King Gizzard and The Lizard Wizard, they keep shapeshifting and massaging the imagination. It would be good to see others follow them but, as I say, are we too worried by change and are artists too busy with the sound of songs – and making them distinct – to focus on the nucleus and spine; reshaping the album itself and challenging our perceptions. I’ll end things there but I do worry that music/albums have become too rigid and there is this sense of safety. There are so many directions we can take music and sound in so I do think that artists, once in a while, need to make that step. The experiment might fail but I applaud those who roll the dice and think of music in different ways. When the concept and experiment truly works then it not only stands out as different and original but it changes how we perceive…

 PHOTO CREDIT: @nahlimusic/Unsplash

MUSIC and sound.