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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Anna of the North 

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

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EVEN though it is Record Store Day...

 IN THIS PHOTO: Fanclub/PHOTO CREDIT: Marshall Tidrick Photo

and I should be writing about that – I will be later on – I was keen to celebrate the great female-led music at the moment. Among these new tracks, there is a great range of sounds and genres. It is incredible seeing all the fantastic music being made by women at the moment. Some might say one should not do an all-female playlist as it someone makes worse the issue of sexism – women should not be defined in terms of gender and should not need that ‘special’ treatment. I disagree and feel that, at a time when there is sexism in the industry, it is important to celebrate the great women who are making some incredible music. Take a look at the brilliant tracks here and I’m sure you’ll find a lot in here that gets you in a better mood. The weather is a bit crap at the moment so we need a musical lift. Here, for your weekend pleasure, is a selection of great songs that will definitely…

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IN THIS PHOTO: Lily Moore

BRING the sunshine.

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

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Hope Tala – Lovestained

Navvy – Subliminal

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Aisha Badru – Enough

Gia Margaret – Birthday

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Bailey Bryan - Perspective

PHOTO CREDIT: Jake Villarreal

Fanclub – Uppercut

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PHOTO CREDIT: Wilk

Meg Mac – I’m Not Coming Back 

Jackie Mendoza - Mucho Más

PHOTO CREDIT: @create_often

The Naked Eye – Tell Me

Anuka – First to Know

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Ellie Goulding – Sixteen

Chloe Castro – Drunk

PHOTO CREDIT: Ingrid Pop 

Aldous Harding – Fixture Picture

Elle Varner – Kinda Love

Anna of the North – Used to Be

Paytra – ToTo

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Lily Moore – Why Don’t You Look at Me

Jessica Mauboy - Sunday

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Grace May - Quiet

PHOTO CREDIT: Dan Wiebe

Chloe Foy – Oh You Are Not Well

Emma Blackery – Cute Without You

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Caswell – Surface

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Hey Violet – Better By Myself

Sody – The Bully

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Hannah Jane Lewis – The Middle

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Madelin – Monarch

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Eloise Viola – Think About You

INTERVIEW: Fletcher Pilon

INTERVIEW:

Fletcher Pilon

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I have been finding out about Fletcher Pilon...

and his new E.P., Thoughts. He discusses his musical tastes and upbringing; a few albums that are very important to him and what the music scene is like in Australia at the moment – he picks a few rising artists to look out for.

I wanted to know if there are going to be any tour dates coming up and whether he will come to the U.K. at some point; how he relaxes away from music and which artist he’d support on the road if he could – Pilon chooses a classic cut to end the interview with.

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

I’m fantastic, thank you! This has been such a great week with releasing my Thoughts E.P. and playing the release show with my band in Indy Linzbichler and Grace Labrum at the Avoca Beach Hotel on the East Coast of Australia the next day. It was actually my eighteenth, so really the best way to spend it!

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

Hey. I’m Fletch! I’m from the Central Coast, Australia and play singer/songwriter music with some Rock influence. I’ve recently started playing with a band and bringing in some more riff-based songs as well as the Folk-influenced songs. I wrote from a place of contemplation and thought and always want to comment on something in my music.

I love poetry so elements of that come through my songwriting.

Your E.P., Thoughts, is out. What was it like putting it together? Was it quite a rewarding experience?

It was an incredibly rewarding experience. I wrote these songs by myself in my bedroom, so seeing how they came together with the band in a recording sense was just awesome. I’m just so happy that people finally get to hear all these things that I’ve wanted to say.

Are there any songs that stand out as personal favourites?

All the songs hold a deep meaning with me. In terms of lyricism, Thought Song is one that I’m really proud of. From commenting on corruption of innocence in modern media, to mining; the education system, politics and a whole lot of other things…I’m so lucky to be able to release music like this song - that is a reflection of how I approach life.

Do you remember when music came to you? Did you always grow up around different sounds?

Since I was young, I’ve always been drawn to music. I remember being only three or four and knowing all the words to a Play School album. Haha. My dad also plays guitar, so that definitely helped get me into it when I started playing and writing songs at about twelve.

Are there any ambitions for the rest of 2019 in terms of music and plans?

We’re playing some shows with the band soon and looking to add some more for June/July. I’d love to potentially record some more this year but, at the moment, I’m stoked to see out this Thoughts E.P. and the things that come with that.

Being based in Australia, what is the music scene like there? Which towns and cities do we need to look at regarding the best talent?

I’m from the Central Coast - which is about an hour north of Sydney, Australia. Sydney has an awesome music scene with lots of new bands and awesome venues. Melbourne is also hugely music-orientated; Australian music feels to be in a fantastic place at the moment.

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

Winning Australia’s Got Talent in 2016 will always be a monumental highlight for me. It was such a moving and special experience in dedicating my performances to my late little brother, Banjo. I was so honoured to be able to share his story and spread his positivity for life.

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

Definitely Bob Dylan’s The Times They Are a-Changin’. The lyrics on this album and the way he approaches songwriting inspires me tremendously. I teared up when I first listened to the song With God on Our Side and that weight of emotion is something that I’d like my music to bring to someone.

The Beatles’ Abbey Road is one of my favourite albums. I was on the train to Sydney when I first listened to it and I had an epiphany-like experience. From the emotion and craft in writing it just cut straight through to me.

Another album that I just admire is Jeff Buckley’s You and I. It’s a collection of demos he did as live takes that was only released a couple of years ago. His voice is just magnetising and honest. I love Julia Jacklin’s Don’t Let the Kids Win for the same reason.

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

Bob Dylan and a bottle of kombucha for rider. Haha.

Are you planning any gigs in the coming months?

Yes! Playing a few shows around the East Coast of Australia:

Sunday, 14th April - Going Off at The Swamp (Central Coast)

Sunday, 21st April - Seaview Tavern (Woolgoolga, N.S.W.)

Friday, 3rd May - Some Velvet Morning (Melbourne)

Sunday, 5th May - The Newsagency (Sydney).

And also more shows to be released soon…

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Might we see you in the U.K. this year at all?

Potentially, I’d love that! I’m planning on coming next year - once I finish school - for a bit of a music holiday with my girlfriend.

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

Performing is my favourite thing to do in music. I love being in the studio but nothing compares to interacting with an audience and sharing that experience - especially when playing my own songs.

 IN THIS PHOTO: Julia Jacklin/PHOTO CREDIT: Nick Mckk

Are there any new artists you recommend we check out?

I love Julia Jacklin’s music and fully recommend that. Didirri and Joel Leggett are also sick.

 IN THIS PHOTO: Didirri

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

Music can often be my chill from music. I love coming back to sitting in my studio and writing songs. I also love surfing, so the ocean is where I turn to reset.

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).

Awesome, cheers! With God on Our Side - Bob Dylan. I think the more people that appreciate Bob Dylan the better the world will be. Haha.

Thanks heaps!

Fletch.

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Follow Fletcher Pilon

FEATURE: The April Playlist: Vol. 2: It’s Human If Everybody Hates You

FEATURE:

 

The April Playlist

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IN THIS PHOTO: Courtney Barnett/PHOTO CREDIT: Elizabeth Weinberg for GQ

Vol. 2: It’s Human If Everybody Hates You

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AS we move further into April…

 IN THIS PHOTO: The Raconteurs

I am finding music broadening and providing more treats. It is always hard predicting whether a week will be big regarding new releases or a bit underwhelming. This week is a pretty good one as we have new releases from Courtney Barnett, MARINA; The Chemical Brothers and The Raconteurs! That might seem impressive but have a look down this list and there are so many other giant artists bringing us fresh sounds this week! It is hard to take it all in but, as I must, I have collected together the best tunes from the week: from the mainstream acts through to those in the underground, it is another ripe and interesting one for fantastic music. Have a listen through this collect of songs and I am sure you will find something in there that takes your fancy. The weather is not too great at the moment so settle down with some great tunes that will soothe the soul! Things have been a little mixed regarding new music but, as this week shows, the very best are…

 IN THIS PHOTO: MARINA

STRIKING back hard!  

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

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Courtney Barnett - Everybody Here Hates You

MARINA – To Be Human

Anna of the North – Used to Be

PHOTO CREDIT: Vance Powell

The Raconteurs - "Hey Gyp (Dig the Slowness)"

Tame Impala - Borderline

King Gizzard & The Lizard Wizard – Plan B

PHOTO CREDIT: Hamish Brown

The Chemical Brothers - Bango

Anderson .Paak – Yada Yada

Self Esteem - (Girl) Crush

PHOTO CREDIT: Daniel Dorsa

Sinkane – Dépaysé (Mad Alchemy Visual)

Local Natives - Tap Dancer

Christine and the Queens - Comme si

Beirut - When I Die

PHOTO CREDIT: Neil Krug

Cage the Elephant - Goodbye

PHOTO CREDIT: Richmond Lam

Broken Social Scene – Big Couches

Emma Bunton – Emotion

AURORA - The Seed

Nilüfer Yanya - Baby Blu

Mattiel - Keep the Change

PHOTO CREDIT: Rachell Smith

Jessie Buckley – Country Rose

Ellie Goulding – Sixteen

MarthaGunn - Saint Cecilia

Faye Webster - Flowers

The Amazons – Doubt It

PHOTO CREDIT: @lacay.o

Amyl and the Sniffers - Got You

Lil Peep – Gym Class

Bear's Den - Laurel Wreath

IN THIS PHOTO: Avicii

Avicii (ft. Aloe Blacc) - SOS (Fan Memories Video)

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Maren Morris - Kingdom of One (from For the Throne (Music Inspired by the HBO Series, Game of Thrones) 

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Hey Violet – Better Be Myself

Norah Jones – Begin Again

Dylan Cartlidge - Higher

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Rob Thomas – Timeless

Band of Skulls – Love Is All Your Love

Grace Ives – Anything

TRACK REVIEW: PJ Harvey (ft. Gillian Anderson) - The Sandman

TRACK REVIEW:

 

PJ Harvey (ft. Gillian Anderson)

IN THIS PHOTO: PJ Harvey/PHOTO CREDIT: Seamus Murphy 

The Sandman

 

9.6/10

 

 

The track, Sandman, is available via:

https://www.youtube.com/watch?v=iD-nSQXlhyo

GENRES:

Experimental/Ambient/Other

The album, All About Eve (Original Music), is available via:

https://open.spotify.com/album/7tEAYxNmHCO75FI4CHDsTy?si=8g3EUouhQ1ysl13NWwmfpA

RELEASE DATE:

12th April, 2019

LABELS:

Invada Records/Lakeshore Records

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I like my Saturday slot...

 PHOTO CREDIT: Getty Images

because I get to look at an artist who is established and someone I know will provide the goods. On this occasion, it is the turn of PJ Harvey. I will talk about the work she has produced for All About Eve – a play running in London concerning an aging Broadway star who gets her career and life threatened by an ambitious fan – but I wanted to talk about other things first. I have wanted to discuss PJ Harvey for some time now and, with an album of original music out, this seems like the perfect chance. I was not expecting any new music from Harvey this year but, as this Rolling Stone article from last year shows, we have been building up to it.

“PJ Harvey will provide the score for an upcoming stage adaptation of the classic 1950 film All About Eve. The adaptation has booked a three-month run at London’s Noel Coward Theatre beginning February 2nd.

The Academy Award for Best Picture-winning All About Eve, itself an adaptation of the play The Wisdom of Eve, starred Bette Davis as a Broadway star and Anne Baxter as a young fan of the actress. In the London staging, Gillian Anderson will take on the Bette Davis role while Baby Driver‘s Lily James will portray the adoring fan.

Harvey previously provided the scores to documentaries like 2005’s Ukrajina and Towards Mathilde, as well as the 2016 play The Nest”.

The play has received huge praise and it will be a shame to see its run come to an end. I will circle back to that but, when thinking about PJ Harvey, I wanted to discuss these huge artists who keep on growing and inspiring; those who step into stage/screen scoring and uniting music and drama; why artists like PJ Harvey are making me hopeful for the future of music and actors collaborating in music. I will start by looking at PJ Harvey because, back in 2016, she released The Hope Six Demolition Project. It was another well-received and fantastic album from the icon.

 IMAGE CREDIT: tomhermans

Look back at her career and has there been another solo artist over the past couple of decades who has been able to match Harvey’s innovation, quality and impact? Albums such as Rid of Me (1993) are among the best albums ever released. That album, as the title implies, saw Harvey discover the dark side of human nature. In fact, she was exploring it fully and created this very challenging and bold soundtrack. With Steve Albini producing, many raised their eyebrows and were not sure. The results speak for themselves. I adore that album but am aware that it is quite challenging and black. Stories from the City, Stories from the Sea came in 2000 and it was another terrific album. Somewhat lighter and inspired by New York, the album is another remarkable move. Look back at the career of PJ Harvey and you are amazed by the scope and quality you find. From her debut, 1992’s Dry, through to her current movements, there is this unique stamp and sound that only PJ Harvey creates. Her best modern-times album, Let England Shake (2011), was nominated for a Mercury prize and was another genius release. It has been a busy career for Harvey and, through the decades, she has changed the face of music and inspired so many other artists. I am excited to see what comes next from Harvey but, if you are new to her work, go back through the back catalogue and discover this phenomenal songwriter. At times raw and open, at others warm and inviting – here is an artist who is never predictable and puts so much emotion and honesty into her work. As it is Record Store Day today, what better excuse do you need than heading down to your local record shop and picking up a PJ Harvey album?! She will continue to inspire artists for generations to come but, at a time when there is a new generation of female songwriters shining, one would do well to look back at Harvey’s work and realise how influential it is.

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 PHOTO CREDIT: Seamus Murphy

One of my biggest complaints is the lack of female artists booked to headline festivals. I have moaned about this for a long time and I do wonder whether there will be a resolution. This year’s biggest festivals have booked all those headliners and, once more, there are very few female artists to be found. I did wonder why PJ Harvey wasn’t booked to headline at least one festival this year because, in my view, she would put on a storming set! One cannot say there is a lack of worthy female talent ready to headline. The industry gets it into their heads that men are the most competent and bookable artists and they have been ignoring great women for decades. PJ Harvey’s immense body of work tells you that, here, there is an artist who is perfectly capable of headlining a festival and doing a much better job that a lot of the acts booked this year. I digress but it is frustrating when you have this world-class artist like Harvey and see her overlooked. My main point was to illuminate her catalogue and show you what a terrific artist she is. She seems to keep growing in terms of curiosity and scope and, looking ahead, I wonder how this will manifest itself. This year has already been busy and exciting; I wonder whether we will see any other big albums arriving in April. Every year provides huge quality but I think 2019 has been especially bold and exciting. Not only has film composition become broader and attracted big names to its fold but the same can be said for the theatre. I do wonder whether music needs to play a bigger role in the arts in general. I shall talk about that in just a second but I would suggest, for anyone reading this, they investigate the work of PJ Harvey and make it part of their lives! She is one of the best songwriters of the past couple of generations and I hope we see many more records from her.

PHOTO CREDIT: Getty Images 

I will discuss All About Eve in a bit but I have been left a bit cold by British drama. We do theatre really well but, in terms of T.V. drama, we go down the same path all the time. We are obsessed with police dramas and domestic scenes. Look at all the biggest dramas on our screens now – and those that have appeared through this year – and there is very little variation and excitement. Not only are the dramas completely humourless and samey, we seem to have it in our heads that people want to see the same thing. The Americans have lots more imagination when it comes to drama. They can explore exciting areas and topics that brilliantly translate to the screen. We here need to watch the Americans when it comes to drama and realise that more ambition and bravery results in genuinely moving pieces. I do wonder whether the link between music and drama is not being exploited. PJ Harvey has collaborated with musicians James Johnston and Kenrick Rowe and brought new life and dynamics to the play – adapted from the film of the same name. I ask myself why British drama-makers tend to get fixated with the same boring themes and do not really stretch their imagination. Look at what is happening on the stage and it is so much more exciting and original. I do wonder whether T.V. producers and directors should look at the theatre and bring some of that magic to the box. I do like the fact that a big musician like PJ Harvey has decided to step into this medium. Not only should T.V. dramas borrow from music and periods of music for inspiration but they could do well to make music a bigger part of things. Another thing I am noticing is more and more popular artists composing for the stage and screen. This is one of the biggest changes that has happened over the past few years.

 IMAGE CREDIT: Mai Blanco

Look back at the classic film scores through the decades and they are all composed by traditional composers. Now, more and more films, plays and shows are being scored by more familiar musicians. Radiohead’s Thom Yorke and Johnny Greenwood have composed for films; this article shows other big names who have moved into film and it is exciting to see the nature of scores changing. In many ways, the more open and diverse compositional market means that great films are being given more energy, possibility and nuance. This also applies to the stage. Think about what the likes of PJ Harvey are doing and how the music and performances interact. I often think about theatre and music and assume there is not going to be too much to highlight. There are some great film scores but do we really connect musical brilliance and theatre together – I mean, outside of musicals and that kind of thing? Harvey wanted to work on All About Eve so she was free from the constraints of songs. She does not have a songbook to work from and does not have to fit her music around lyrics. Instead, there is almost like this blank page where she can work from. Get the soundtrack now and you will be blown away by the various moods and stories being told. I do think that many people will come and see the play based on the music. I do think music and artists can heighten productions and add something brilliant. I have bemoaned the lack of great British dramas but I do feel like changes can be made. Understanding the importance of music in general and how that can elevate scenes; pushing the envelope in terms of concepts and synopsis’; expanding the spectrum and dipping into areas away from family/police dramas and realising there is a whole world out there. Maybe I am rambling but I am excited to see how music and theatre interact. I think imaginative music can lift acting whereas a great performance can bring something new from music.   

PHOTO CREDIT: Getty Images

Before I move onto reviewing a track from All About Eve, I wanted to mention actors and collaborations with musicians. Gillian Anderson sings on The Sandman and she appears in the London play with Lily James. I am a big fan of Gillian Anderson and, if you do not follow her on social media, make sure you correct that. She is charming, cheeky and cool and makes you smile! She is a fantastic actor and I do think she is one of the most underrated talents out there. I think she lives in London at the moment and I wonder whether she will appear in British dramas/comedies very soon. Right now, she can be seen in the T.V. show, Sex Education. As she revealed in this article, she had the chance to play a less-than-serious character:

“I’ve always played such serious characters before,” Anderson said by phone from London, where she is rehearsing for a forthcoming stage production of All About Eve, in which she’ll star alongside Lily James. “I’ve never had an experience like that where I’ve gotten to just let it all hang out, so that in and of itself was such a pleasure.”

A show about teenagers addled by hormones, Sex Education is cringe-inducingly funny—it opens on a scene of two teens having rampant, yet unsatisfying, sex—and unexpectedly poignant. Anderson plays Jean Milburn, a British single mom and sex therapist whose adventurous approach to sexuality has not rubbed off on her geeky 16-year-old son Otis (Asa Butterfield). In fact, Otis is so repelled by his own desires that he can’t masturbate, let alone make out with girls”.

It would be great to see Anderson on the screen more and, now that she has appeared in a London theatre production, on the stage. It is quite rare seeing actors contribute vocals to music. I love what Anderson has done on The Sandman and, curiously, I wonder whether Gillian Anderson has considered a move into music.

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IN THIS PHOTO: Gillian Anderson/PHOTO CREDIT: @charlottehuco

It is neat seeing the worlds of acting and music fuse. There have been occasions where big actors have recorded music – from Hugh Jackman to Bruce Willis – but I think it should happen more. Not only can Gillian Anderson and Lily James’ involvement in the soundtrack make more people want to investigate PJ Harvey but PJ Harvey’s involvement in All About Eve will get more to the theatre. I do love the bond between the stage and music and how it has evolved through the years. The music world has expanded through the decades and the fact artists like PJ Harvey are stepping into new worlds will inspire many. In years past, film and stage scores were reserved to those with a more traditional background in that sense. Not that mainstream artists are diluting the waters but they are showing that anyone can do it and there is a whole world waiting. Look at the music through the All About Eve score and it has given Harvey the chance to be liberated. I think she has created some of her best modern work on the score and love the fact actors like Gillian Anderson have worked alongside her. I do wonder whether Anderson will lend her voice to more musical projects as she is very natural and authoritative! I do think there needs to be a closer link between music and drama in general as it has worked marvellously on All About Eve. As British T.V. drama stagnates and lacks any real colour, there are definite opportunities out there. I will move on to a new subject – the song review, in fact! – in a bit but I do think that PJ Harvey’s work here will see some changes on T.V., the stage and film. I also love discovering that much-loved actors have a really great voice and reveal talents you didn’t know they had. If you have not seen the play, go and see All About Eve before its run ends. It is a magnificent production that has, quite rightly, been receiving some very hot reviews.

 PHOTO CREDIT: Rex

The Sandman is one of the shortest songs on All About Eve. There is this haunting and pressing piano line that captures you and gets into the heart. With ethereal vocals and a really stunning performance from Gillian Anderson, you are immersed in this song that makes its impression felt the first time around. It is always hard approaching a score/soundtrack if you have not seen the production. Some might say that the songs are out-of-context and unusual if you do not know the story and history. I think there is a case for that but you can appreciate songs on their own merit and do not need to know the true background and context to get an understanding. We hear the heroine talk about this spirit and feeling that comes to her during the night. The vocal floats and has that mix of dreaminess and sensuality; the song’s eponymous figure brings love to the heroine and, as someone who has not seen the All About Eve play, I do wonder whether the song represents a pivotal moment. Looking at things from a purely musical standpoint, one is stunned by the grace and beauty of the performance and how gripping the song is. People will have their own impression of the visuals/song and what it is telling us. I actually imagined Anderson wrestling with dreams and nightmares and trying to forget painful memories. Maybe she has had better times and not found the success (now) that she had before. Going to sleep and letting her dreams take her away, it seems there is more positivity, hope and calm. You do get the sense you are inside the head of the heroine and following what she dreams. Harvey’s score is the perfect balance between calm and spiritual; mixing in something more urgent and unsettled. There are words regarding the moon arising and there being fears. I speculated how the heroine might be looking for nightmares to end and there being this sort of calm in sleep. Maybe I have got things the wrong way around. Perhaps sleep is when nightmares come to play.

 PHOTO CREDIT: Ben Weller for British Vogue

The vocals have this spectral power and, the more you listen to The Sandman, the more you discover. I love the vocal performance because it has so much power and beauty and it leads you in different directions. One can swim in the beauty of the vocals but there Harvey’s lyrics seem to get into the mind of someone who is quite troubled and more complex than you might think. The Sandman is quite a short number and does not outstay its welcome. In many ways, it is like a bridge between the events of the evening and the break of a new dawn. Although we do not hear much of Gillian Anderson’s voice on the All About Eve album, she makes a huge contribution and, like Lily James on The Moth, it is exciting hearing these popular figures sing. I listened to The Sandman a few times and was looking to see if I could guess the inspiration and the role it plays in All About Eve. One does not need to be familiar with the play/original film to empathise with the heroine or feel moved by the track. It has such an emotional weight and prowess that one cannot help play it over and over again. It is calming and inviting but there is a sense of unrest and ghostliness that infects and infuses its mood. There are so many reasons to recommend The Sandman as a song. It is the third track on the All About Eve score so you know that it sort of sets the scene and plays an important role. As a PJ Harvey composition, I cannot remember hearing anything similar on any of her albums. Harvey has always been able to bring something haunted and beautiful to music but not quite in this manner. It is a fantastic song from her and there are plenty more like that across All About Eve! Harvey shows her songwriting talents are bottomless and she is a master regarding mood and emotional resonance. Anderson is a revelation and someone who, I hope, gets more involved in music. There is a lot of great music around right now but I do think people ignore film and theatre soundtracks. They might assume it will be all Classical music and not what they like. Modern composers are much broader and popular artists like PJ Harvey are making scores more accessible and exciting, in my view. I love the entire All About Eve score and think there is some of PJ Harvey’s best work on it. Who would have ever thought we’d hear a song with PJ Harvey and Gillian Anderson harmonising and combining?! The Sandman is a magnificent track that spikes the imagination and makes one wonder. I was not aware Anderson had such a strong and versatile voice but, as we hear on the song, she is capable of showing the same breadth and ability as the best artists of the moment.

 PHOTO CREDIT: Kevin Cummins/Getty Images

I do think that PJ Harvey is one of those artists who sort of define what it is to be great. She has never taken an easy route when it comes to subject matter and I feel like she is one of those pioneers who has pushed music to new plains. I can hear so many of her tones in the best modern songwriters and I do hope that the new generation get familiar with one of the best artists ever. I am not sure whether there is a new studio album coming in the next year or two but it seems like Harvey has been pretty busy lately! One can forgive her if she wants to take some time off but I do feel like she will be making movements fairly soon. I love what she has done on the All About Eve score and how she stepped into new territory. She was not trapped by a particular mood/lyrics and was allowed to reign free and bold. The various songs on the album tell their own stories and very few of them exceed three minutes in length. It is a remarkable work and one that you dive into and surrender to. Maybe Harvey will contribute to other theatrical projects and do some film composition. You never know what you’ll get with PJ Harvey and it is great she continues to move in new directions and show what an immense talent she is. I have talked about T.V. drama and how music can play its part. I do worry that there is so little originality in British dramas and have been searching my mind for a reason why. The lack of risk is quite troubling but I do think that things like PJ Harvey composing music for a play will help. It will draw more eyes to the play and inspire writers to bring something more arresting and vivid to the screen – there has not been a T.V. drama like All About Eve on British T.V. for a while.

 IN THIS PHOTO: Lily James (who appears in All About Eve with Gillian Anderson)/PHOTO CREDIT: Jan Versweyveld

Music itself is unexploited on T.V. and there is so much to choose from. Whether having a particular period of music/genre as a backdrop for a drama or concentrating on a particular artist/album, I do think there are endless possibilities. I shall leave my train of thought there because I have gone on a lot. I do think that PJ Harvey’s work on All About Eve will get more people into the theatre and, I hope, more people heading her way. There will be those who associate Harvey with a particular sound and might have been hesitant listening to her work for All About Eve. The fact artists can cross-pollinate and we see the clash of two worlds opens minds, new discovery and perspective. Make sure you investigate the score/soundtrack and discover just how far PJ Harvey’s talents extend! She is this ever-compelling artist who seems to have no limits. In many ways, big musicians composing for the theatre can get people like me watching plays. I have not been to the West End since I was a child and usually avoid plays. Not for any good reason but I do feel like the experience will be less moving than film or music. I do feel like many have this perception but, with such great reviews in, plays like All About Eve will bring more bums to seats. With big names like Lily James and Gillian Anderson involved, it is a must-see event. Let’s leave things there but I would urge people to listen to the All About Eve and, if they like it, go and see the play – or the other way around if you please! I might try and see if I can get a ticket to see the play and, on Record Store Day, I am sure I can find some time to spin All About Eve’s incredible score once more! I am not shocked PJ Harvey has produced such a masterful work and I do hope she does more of this in the future. She is one of the finest artists we have right now and, from her 1992 debut to now, PJ Harvey has always stood aside…

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PHOTO CREDIT: Getty Images/Press

FROM her peers.                                                                                       

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INTERVIEW: Caswell

INTERVIEW:

Caswell

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TAKING us into the weekend...

is the fantastic Caswell. She has been telling me about her new E.P., Blindside. I ask if there is a favourite track from the collection and when music came into her life; how she views a very busy 2018 and what plans are coming up.

I wanted to know if there are going to be tour dates coming and which albums are most important to her; if there are particular artists we need to be aware of and who she’d support on the road given the chance – Caswell picks a great song to finish the interview on.

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

Hey! Yes. All good, thanks. I had my hometown E.P. launch on Thursday and the E.P. release on Friday. Then, afterwards, typically got struck down with some form of spring lurgy. Now, I’m on a potent diet of ginger and lemon tea.

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

So. I’m an independent London-born, Suffolk-based singer-songwriter with a killer live band and I guess I make what you’d call Alternative-Electro-Neo-Soul-Pop? Or something?

 

Stay the Night is your latest single. Is there a story behind it?

I wrote this when I was seventeen and, as I wasn't a hugely strong keys player, I found I'd spend hours trying to find inspiration on the piano but fall into the same limited chord progressions and get frustrated. I then went through a phase of writing over YouTube instrumentals and found one by The Weeknd that just fitted this dark/sexy/lonely vibe for Stay the Night. That was my first proper heartbreak song - so it’s always, always gonna be one that sticks.

The song is from your new E.P., Blindside. What inspired the songs and how does it differ from your debut E.P.?

So. I wanted to amp the energy up from my previous E.P. and make it more synth-heavy. I did a lot of my biggest shows last year and I just felt I needed some more high-energy tunes for the live set as I love getting the crowd hyped at a festival. During the writing of Blindside, I had also been playing with the band a little while and the production definitely translated this.

 

Is there a track from the E.P. that you favour/prefer above the rest?

I love Control just because it feels so raw and I get to go a bit mad with the vocal - and that’s super-fun to do live. There’s an anger in the song too and that’s something I’ve not really explored before.  

2018 was a pretty busy one. What are your impressions of the year?

Yes, it was mad! The tour with Arlissa and playing Latitude were the best; I even got listed as a live highlight on the official Latitude website so that was another kind of crazy. I was also awarded the Women Make Music grant from the PRS which helped enable me to release this Blindside E.P. so massive love to them!

Do you remember when music came to you? Did you always grow up around different sounds?

So. I will forever hear the stories about how, at two, I would call myself ‘Madonna Spice’ (a merger of my two favourite acts, clearly); apparently I also took a shining to k.d. lang and Suzanne Vega as a toddler. I was always into music but weirdly a musical episode of Buffy I watched when around the age of ten inspired me to start writing! (Strange child). My mum is also a vinyl dealer so that doesn’t hurt.

Are there any ambitions for the rest of 2019 in terms of music and plans?

Absolutely. Next week I’m headed to Berlin for a week of sessions writing with BMG artists, so that’s very exciting! We’ve also got a jam-packed summer of live shows and festivals which are always the most fun.

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

Crying whilst singing my song, Brother, at an open mic at my local. It was an intense emotional experience.

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

Mama’s Gun by Erykah Badu

Memories of teenage years.

In Rainbows by Radiohead

Nostalgic, emotional perfection.

Grace by Jeff Buckley

Limitless beauty.

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

I think Tame Impala, just because I’ve seen the live set and I know how epic it would be! I was obscenely obsessed a few years back. For the rider, all I know is socks are a must (according to the band, a spare change is absolutely essential…)

What are your plans regarding gigs/touring?

So. I haven’t announced some stuff as of yet but it’s going to be my busiest summer yet by far, with returns to old favourites and ventures to new live territory. Keep them peeled.

Is the stage somewhere you love to be? How important is it being up there?

Absolutely. Although it wasn’t always that way. I had terrible nerves and a little but loud voice in my head telling me everyone was bored and I should finish the songs early. It took a lot of practice but that voice only makes very occasional appearances now - and I spend the majority of the shows having the time of my life with the support of my amazing band.

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 IN THIS PHOTO: Nemi

Are there any new artists you recommend we check out?

So. I’m really feeling the new tune by friend/artist Nemi called Can’t Get Through to You and my producer’s band KYLYPSO are sick. I’m not biased- promise!

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IN THIS PHOTO: KYLPSO/PHOTO CREDIT: Jordan Woods

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

Finding life/work balance is such a constant struggle. I work a normal day job then music is a whole other life/job on top. I’m usually doing emails until 11 P.M. and there's not a day I switch off - but on the weekends I do definitely like to be social and enjoy a few cheeky bevs.

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).

After You’ve Gone - Nina Simone

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INTERVIEW: Rayon Nelson

INTERVIEW:

Rayon Nelson

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THE brilliant Rayon Nelson has been telling me about...

his new track, Freedom, and what it concerns; how music came to him and the role his family played; if he has a standout career memory; what is still coming up in 2019 and the rising artists we need to get behind and spend some time with.

I ask Nelson whether there are gigs afoot and if there are any albums that stand out to him; whether there is more material coming along and the advice he’d give to approaching musicians – he selects a cool track to end things with.

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

Hi, I’m good, thanks! My week’s been ok; somewhat intense but trying to chill out and enjoy moments!

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

I’m a soulful singer and songwriter. I am self-produced so all my songs I produce but I am open to working with other producers. My music is a mainly Acoustic-Soul but I have some vibey tunes as well. I write about any and everything, but I try to be meaningful - i.e. Memories, Get Up and Freedom.

Freedom is your latest single. Is there a story behind it?

Yes, there is! So I found myself wanting to write about freedom and the issues with the killing of young youths in America i.e. the Ferguson killing. So, I started writing about that. Then, I performed at an inspiring event where I was then speaking to a friend who told me a story of a really young refugee girl who had fled a country because her father was killed. Her mother then died of starvation and she ended up travelling with strangers to Europe.

He then brought her story to Parliament as his way of doing something. I felt challenged by that conversation as I have always wanted to do things to help people in similar situations but my excuse was that I didn’t have money to donate etc. But then I realised that I may not be able to give financially but I could write a song and bring about some sort of awareness!

So that’s how the song came to be! 

I understand you took some time off of music. Was there a reason behind that?

After I released my latest E.P. (independently), I had a lot of industry interests etc. which I realise I wasn’t ready for. I also felt I was compromising my sound for labels to satisfy their wants. So, I had to just chill out and get organised, clear my mind…try sort out a team. I was having label meetings with no management, no lawyer etc. It is good that I could handle myself - but having a strong team around you is better!

Are there any ambitions for the rest of 2019 in terms of music and plans?

I have a second single coming out 26th April and my E.P. on 31st May. So, hopefully these will do good. Then I will release a few more singles at the latter part of the year!

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

I had quite an array of artists that I liked and listened to but, to name a few: Jimmy Cliff, Bob Marley; Smokie Norful, Usher; Donnell Jones, Mali music etc.

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It seems you take inspiration from various different sources. How important are your family and upbringing to that?

Well. My family played a lot of Soul, Reggae and old-school Gospel music in the house so I grew to love people like Jimmy Cliff, Buju Banton and Sister Nancy. This is like my foundation in terms of influence, not only because of their sound but because they spoke about real things. I was born in Jamaica on a farm in a family who ate what they grew…there were great times but also some tuff (sic) times. In one of my songs on the new E.P. I talk about this a bit and I dedicated the song to my grandparents and aunties.

I remember this one Sunday we never had enough money come in that week so we had to drink ‘pumpkin soup’ on a Sunday instead of the typical full-plate chicken/rice and peas etc. So, I understand what it means to struggle and I sing for this reason: to help my family and people out there struggling alike.

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

Uhmm. Performing at the Isle of Wight Festival was great! It was my first major festival experience to both visit and gig. But, what makes me happy most is intimate gigs where I can connect with audience.

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

Ohh…this one is hard! Haha. I don’t usually listen to whole albums so this might not be an accurate answer…but here we go:

Confessions by Usher

Because this reminds of college days when I started to sing. There was a guy from my school who inspired me to sing. He was so dope at that time and the first song I heard him sing was from Usher - so that’s how I started to listen to Usher. Confessions is a vibe! I loved how the album was all a confession!

Freudian by Daniel Caesar

This was released in 2018 and it has been the only new artist album that I have had on-repeats for a while. The musicality and the vibe captured me. It’s just dope.  I hope my album to come is as dope!

The Miseducation of Lauryn Hill by Lauryn Hill

Again, because of the vibe! It’s just a great album.

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

I would love to support D’Angelo! I also would love to jamm with him! That would be vocally epic! As long as I have a comfy dressing room with plenty of water (and lemon/honey-infused) then I am good. Also, no-phones policy! I want people to enjoy the moment and not caught up on their phones.

What does the rest of this year hold for you?

Pushing my E.P.; loads of gigs and collaborations.

Are you planning any gigs in the coming months?

I only plan to have one gig in April (details will be on social media). I am performing at Sofar Sounds at Orbit Sounds UK on 16th May and then at my E.P. launch on 30th May at The Finsbury.

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

Performing is my favourite part of this music life. It’s never the same. I love intimate gigs. It allows me to connect with people, share myself and be authentic. It also allows moments to be created! Can you remember or imagine being in a crowd listening to your favourite artist and saying one day that this will be me!

It’s a space for dreamers to be inspired and motivated. 

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 PHOTO CREDIT: TEEKS

Are there any new artists you recommend we check out?

I have just discovered TEEKS! Love his voice and his sound is that old-school Soul sound.

Jackson Lundy - Calypso (recommended track). I just discovered this dude as well. Chilled, dreamy Soul. He is also up-and-coming!

Koffee - Toast (recommended track). It’s like a Dancehall-Pop-kinda style. I like her because her lyrics aren’t typical of Dancehall: she’s a really young artist from Spanish Town, Jamaica and she has unique sound.

Hablot Brown - She Said. They are just great! Great sound! They are still climbing the ladder!

Dayo Bello - Mine. Because he’s my friend. He is great and have so much potential!

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 IMAGE CREDIT: Jackson Lundy

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

I still work full-time to pay rent so I don’t get enough time to really chill. I am trying though to chill! Haha. Hopefully, this year I will do music full-time! That’s the goal!

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).

Home Again - Michael Kiwanuka

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INTERVIEW: Eleri Angharad

INTERVIEW:

Eleri Angharad

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IT has been wonderful speaking with Eleri Angharad...

about her album, Earthbound (out on Friday), and how it came together; whether she has a standout song from the set and what it was like recording the album in Cardiff – Angharad tells me about her favourite artists and music.

I ask whether there are gigs coming up and why she takes guidance from Nashville and its artists; the musician she’d support on the road given the choice and which approaching artists should be in our sights – she selects a great song to end the interview with.

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

Hello! I’m good, thank you - tired but very, very excited! So far it’s been a busy week getting everything organised for the release, but I think I’m just about ready!

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

I’m Eleri Angharad, a Country/Pop artist from South Wales, U.K. My music is influenced by a mix of Welsh and Americana musicians such as Cerys Matthews, James Taylor and Taylor Swift. I was really drawn to Country music both growing up and after a road trip I took around the U.S., playing in Greensboro, Nashville; Chicago and New York.

Your debut album, Earthbound, is out soon. Can you reveal what inspired the songs and what it was like to record?

I chose the title, Earthbound, which is also the name of one of the tracks because it really tied in with the themes of home that run through the album - whether home is your hometown or a person or just a feeling of belonging somewhere. I travelled a lot around the U.S. and Ireland, so a lot of places feel like home to me. I’m lucky to have friends all over the world that keep really grounded, so Earthbound encompasses all of that. It’s the most honest collection of songs I’ve ever written.

I love recording music and I’ve worked with the same producer on my last two records - a fantastic guy called Lee House. We work really well together and everything seems to flow.

Is there a song from the pack that stands as a favourite?

Oh. I change my mind on this every day! At the moment, I think Stronger Stuff really stands out to me as it’s so upbeat and empowering. It’s also got a great harmonica solo blended with electric guitar, so I really love how the sound turned out!

I also love Chicago as it’s such a nostalgic song to me. It’s like a time capsule.

What was it like recording the album at Woodcroft in Cardiff?

It was a new studio for me so that was exciting. It’s a really chilled space with lovely carpets and fairy lights so it’s quite magical and relaxing - it makes me feel really creative! It’s always an absolute pleasure to work with Lee House as producer too. He always listens to my vision for the songs and makes them sound even better than I could imagine!

It was difficult at times especially playing the same guitar parts over and over but it was amazing to see myself grow and improve as a recording artist during the process and I can’t wait to see what my next project will be.

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

I grew up listening to a ton of my parents’ music collection including welsh artists like Cerys Matthews/Catatonia and Amy Wadge. I have always loved storytelling songs like those of James Taylor and Dolly Parton - I’m a self-confessed Taylor Swift super-fan too and her album, Fearless, really got me into Country music. These days, I really love the modern Pop twist on Country - with artists like Kacey Musgraves, Jillian Jaqueline and U.K. country duo Ward Thomas.

It seems like you take guidance from Nashville artists. What is it about the city and sound that captivates you?

Nashville is wonderful because there’s music in absolutely every bar - almost 24/7 - and yet there’s always an audience. The people there just adore music and it attracts music lovers and artists from all over the world. What struck me most was the heartbreaking honesty of Nashville artists, each one with their own story to tell and being completely unafraid to sing it to a room full of strangers with often just a guitar in hand. I really wanted to incorporate that stripped-back integrity into my own music and this record reflects the Nashville magic for me.

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

One of the best gigs I ever played was completely unplugged in a bookshop in Stockholm, Sweden. I got to meet Izzy Young - the man who booked Bob Dylan his first-ever gig - so that was pretty amazing. It was absolutely filled to the brim with people who were so supportive and attentive - I even sang in Welsh and I think that was their favourite song!

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

Fearless - Taylor Swift

This album really got me into Country music and exploring more and more artists.

Catatonia - International Velvet

My mum used to play this in the car all the time when I was growing up and Road Rage was my ultimate-favourite song for years. I know the whole album off by heart and I still love it. I got to write with one of the band members for my Earthbound album and that was an incredible experience.

9 to 5 and Odd Jobs - Dolly Parton

I was in a play in school where this was the soundtrack and it really got me into older Country music; it holds a lot of memories for me. I just adore Dolly in general. I think she’s wonderful!

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

Oooh, wow! I’d actually love to support Kacey Musgraves as I feel like the show would be magical and full of sparkly things! On my rider I’d definitely have some pink gin, watermelon and strawberries.

What does the rest of this year hold for you?

Well. I’m going on a U.K. tour this month to promote the album release - playing in York, Brighton; Manchester, Bristol and London as well as some more along the way! I’ve also got a busy summer of festivals coming up, too: How the Light Gets In, Live on the Wye and Home Farm Fest (which have already been announced), so I’m also really excited about those. Maybe some more music videos, too; they’re always so much fun to release!

Are you planning any gigs in the coming months?

I’ve got my album launch next week in Cardiff – 13th April (which is now sold out). I’m playing there with my full band, The Blue Js, and I’ve got the tour. Also doing a big hometown show in Swansea on 3rd May. After that, I’m supporting Ell South in Porter’s, Cardiff on 8th May and Sarah Birch in The Cellar, Cardigan on 14th June.

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

They’re very different. I love the experience of chipping away at a record in the studio and seeing my songs come to life, but I also love the buzz of performing! I’m so excited to be playing some full band shows this year as the atmosphere onstage is great. I can’t wait to share my album live with an audience. 

 IN THIS PHOTO: Violet Skies

Are there any new artists you recommend we check out?

There are some really great upcoming artists from South Wales. I’d hugely recommend listening to Pop acts like Violet Skies and Emilie Merry and, for some Country, my favourite new acts are Jillian Jacqueline, Natalie Jones and Rosey Cale.

 IN THIS PHOTO: Jillian Jacqueline

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

I love to keep fit and go to the gym, although I haven’t had much time for that for a while. I also really love cooking new vegan recipes and baking. I find it so relaxing! I even have my own food blog on Instagram, What Eleri Eats.

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).

Oooh. I think I’ll pick Space Cowboy - Kacey Musgraves. It’s absolutely heartbreaking and I love a good sad song!

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INTERVIEW: Kat Cunning

INTERVIEW:

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PHOTO CREDIT: Ben Trivett 

Kat Cunning

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THE superb Kat Cunning has been discussing her great single...

Birds and how it came to life. I was keen to know if there is more material coming and what sort of music Cunning is inspired by; how important it is to be an advocate of L.G.B.T.Q.+ rights and body positivity – she picks a couple of rising artists that we need to get involved with.

I wanted to find out if there are tour dates coming up and how, as an actor, that discipline blends with her music work; how she relaxes outside of music and a few albums that mean a lot to her – Cunning selects a great song to end the interview with.

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

STELLAR! Played a showcase in London where David Bowie used to track; released my single, Birds, and I’m gearing up to release the video to follow. Most importantly, I got to watch plane movies on my way back...Heaven.

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

Alt-pop? Inclusive? Sexual? Soul influence? Hot fire? It’s so hard to describe yourself but I’m often compared to vocalists like Florence and The Machine and Fiona Apple. I think it’s less about how I sound and more about the feel of the music. I write songs that mean something to me and I put my heart into them.

Birds is your new single. What is the story behind it?

When I wrote this song, I didn’t even know what it was about: it just fell out of my mouth. It felt like a nursery rhyme until the symbolism of the birds revealed themselves to be a metaphor for anxiety and insomnia. This song is for anyone who has ever been agitated, bothered or gone completely mad.  

Me, personally, I sing the song to combat the voices in my own head and the structures that are built inside and outside of me, designed to hold me back. Metaphor is cool that way. It doesn’t really shove my experience at you. You can hear your own story in the song.

Might there be more material coming later in the year?

Lots of stuff cookin’. I have two songs in particular that I’m already so excited to release and a forthcoming E.P. THIS FALLLL! I’m dead.  It’s been so long; I can’t wait to share it.

PHOTO CREDIT: Marc Harris Miller

You are an advocate of body positivity and the L.G.B.T.Q.+ community. How important is that to you?

I am a curvy and strong person. I am always being reminded that my body is weird, extra: specifically female or utterly sexual. I don’t see women like me on T.V. that play anything other than hookers and vixens. Body positivity is important to me because I feel underrepresented and I know and love so many women in more extreme cases that feel the same. The Internet is starting to turn the tides when it comes to user-generated imagery - we’re showing you what we want to show you and affirming what we want to see. That’s cellulite, scars; different ages, colors and abilities.

The same goes for queer people. I am a queer person. I want to see examples of same-sex couples and gender-fluid people thriving. I see them and love them in my life. I want to see more diversity and fewer stereotypes represented in the media. It would be more realistic, interesting and helpful to the kids that aren’t so lucky to have the colorful community I’ve found. All it takes is one character on primetime; one song that speaks to you, to motivate you to find your way.

As an actor, how does that work blend with your music? Do you bring acting disciplines into your music?

Ya. Acting helps me to be a brave performer. It also inspires me to be empathetic when I write. It’s cool to step into other people’s shoes.

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How influential is the diverse New York scene when it comes to your own sound?

Hugely! I come from a really small town in Oregon. I value space in music like my hometown. I value color in music like my community here.

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

I was a weird kid, man. I had a record player that my grandma saved and would play old records which were mostly show tunes and The Beatles. I think I was just as in love with the sound of the record scratch as I was with the songs themselves. As a teenager, I was into Neutral Milk Hotel, Interpol; Modest Mouse, the Ramones; The Clash and Dandy Warhols. I discovered Soul and R&B in college…

Erykah for life.

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

Getting to open for LP on tour was a dream.

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

James Blake - James Blake

I danced alone to this album every day for a year.

Beyoncé – Beyoncé

She presents every part of herself in this album. It’s what made me really want to dive into this industry.

Rihanna - Anti

She f*cks with every genre, sings in her own dialect; the imagery for the album is so androgynous; she champions other artists and overall doesn’t seem to care what you think.  

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

I would love to open for Christine and the Queens, Sia or Lady Gaga. I think they all draw freaky crowds that love strong women and they put on huge shows. My rider would include tequila, popcorn and Blue Point Oysters…cus I’m classy.  

Are you planning any gigs in the coming months?

Yes! Come see me in N.Y. on April 17th at Elsewhere space and I might be back in London the following week. Stay tuned!

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

I need to perform. I love to write. I much prefer to sing my records on stages for people than alone in a booth. I kind of hate that and it makes me want to die. My manager is always laughing cus I have tried singing in every corner of the studio.

IN THIS PHOTO: NSTASIA

Are there any new artists you recommend we check out?

Obsessed with NSTASIA and my friend Katie Von Schleicher!

 IN THIS PHOTO: Katie Von Schleicher

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

I take myself dancing. Not the bougie venues where girls stand in cocktail dresses waiting for someone to buy them a cocktail: the places you go to sweat and grind.  

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).

Love in This Club by Usher! Xoxox

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INTERVIEW: Sahara Beck

INTERVIEW:

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PHOTO CREDIT: Jeff Andersen Jnr.

Sahara Beck

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KICKING off the week is Sahara Beck...

PHOTO CREDIT: She Is Aphrodite

who has been discussing her latest track, I Haven’t Done a Thing Today. I ask about its start and whether the Australian artist has more material coming up; whether she might head out on tour and what sort of music she was raised on.

Beck suggests some rising artists to watch and talks about the past year; what advice she’d give to artists coming through and the albums that mean a lot to her – she ends the interview by picking a great song.

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

My week has been good! An exciting first week of life for my new single!

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

I'm Sahara Beck. I've been playing and releasing music since I was thirteen. I grew up on the Sunshine Coast but have been based in Brisbane for a few years now. I've just released my new single, I Haven't Done a Thing Today, which I wrote with my brother last year.

What is your new song, I Haven’t Done a Thing Today, about? When did it come to you?

It's about taking a seat and having a look at everything in my life and objectively without judging myself and, instead, just putting love into those areas. For example, in one part I speak about how my brother has always been very smart and good at everything. I used to feel competition towards him, naturally.

But I am proud of him that things come so easily to him these days. I speak about love being everywhere because I truly believe that and sometimes I forget to see that when I get caught up in mine and others egos. 

I understand more material is arriving later in the year. Can you tell us anything about that?

I guess what I can tell you is that I have been spending a lot of time writing and pushing my abilities and boundaries in that sense - over the last eighteen months. This is why I chose to travel to Los Angeles to work on the new material with Tony Buchen. He’s worked with Montaigne, Courtney Barnett and Mansionair to name a few.

We’d never worked together before and I had a strong sense he would be able to understand my vision and help me to reach that ultimate creative goal on this project (smiles). It was exciting to take that big step to work outside my comfort zone - and also really frightening!  But I am incredibly proud of what I have written and created and I am so pumped to finally release these ones to the world.

PHOTO CREDIT: Jeff Andersen Jnr.

Over the past twelve months, you have been very busy – including a support slot with Bishop Briggs. How crazy has it been and has it all been fun?!

The Bishop Briggs support was amazing. She is an incredible woman and I learnt so much from watching her perform! It was a pretty cool way to kick of the year! Around that, I've been writing a lot with many different people, rehearsing the new material with my band and it's generally been a very creative time and I've been loving it.

Did you always know you wanted to get into music? When did that passion start?

Actually, I always wanted to be an actress growing up! I started playing music as a natural progression of that expression and just started loving it so much I couldn't stop. There have been many moments in my journey that have continued to excite me and motivate me to write and perform. I remember seeing The Cat Empire for the first time at a festival and they had the audience completely in the palm of their hand - with nothing but a single vocal note and that just crushed me. I just knew I was driven to that experience.

PHOTO CREDIT: @thomasjamesisaac

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

I grew up listening to a lot of dramatic music of all genres, mainly Classical on my mum's side or Motown on my dad's side. My music taste growing up and even still now is so wide I am struggling to raise any particular names above others.

Being based in Brisbane, what is the music scene like there? How does it compare to cities like Sydney and Melbourne?

I think the Brisbane music scene is extremely supportive. I'm not sure what it's like in other cities as I've always lived either on the Sunshine Coast or Brisbane. 

PHOTO CREDIT: She Is Aphrodite

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

My standout memory is getting an eight-piece band together for BluesFest several years ago and performing my album to a packed-out tent! I think I was eighteen at the time and it just felt insane!

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

Lou Reed – Transformer

Because it's so real, lyrically and musically, to me.

Violent Soho - Hungry Ghosts

Because it's always a huge release for me listening to it.

And anything by Tame Impala…

Because Kevin can do no wrong plucking my heart-strings with his beautiful melodies.

PHOTO CREDIT: Jeff Andersen Jnr.

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

Maybe, like, Beyoncé - and then I’d request to have the same rider as she has. I reckon that would be interesting to find out (smiles).

Are you planning any gigs in the coming months?

I have a couple of announced shows coming up and some not yet announced!

I’m playing the Ipswich Festival on Friday, 12th April with Regurgitator. This will actually be the first show with my brother (who has joined the band)! And then I will be playing AltFest in Adelaide on Saturday, June 29th with some kick-ass women Dallas Frasca and Z-Star Trinity!  I haven’t been back to Adelaide for a couple of years so I’m super-excited about that show. You can expect to hear a lot of my new material in these sets - a handful of which I previewed on my single tour late last year.

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

Performing is my favourite part of all of this. I love writing and recording but there's nothing like performing something that is so vulnerable and true to yourself.

 IN THIS PHOTO: The Jensens

Are there any new artists you recommend we check out?

The Jensens and Pink Matter. Pink Matter is a four-piece all-female Neo-Soul act. So great live and the best people!

IN THIS PHOTO: Pink Matter/PHOTO CREDIT: Georgia Wallace Photographer

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

I like getting hooked into a good animated series to unwind my mind. I'm re-watching Rick and Morty at the moment for that reason. That show always helps me get perspective.

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

The Jensens – Mt. Mura

That's my mate’s band and I'm loving their new direction.

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Follow Sahara Beck

FEATURE: The Lady Owns the Blues: Billie Holiday at One-Hundred-and-Four: The Ultimate Playlist

FEATURE:

 

 

The Lady Owns the Blues

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IN THIS PHOTO: Billie Holiday in the early-1950s/PHOTO CREDIT: Hulton Archive/Getty Images 

Billie Holiday at One-Hundred-and-Four: The Ultimate Playlist

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IT is tragic that the great Billie Holiday only lived...

 IMAGE CREDIT: Getty Images

to the age of forty-four. Holiday was diagnosed with cirrhosis in 1959 and battled alcoholism for a lot of her late life. She was in frail health in the last couple of years before she died at the age of forty-four in 1959. She did not record a lot before her death but 1958’s Lady in Satin has some real highlights – including Frank Sinatra, Joel Herron and Jack Wolf’s I’m a Fool to Want You. Holiday’s voice had lost a lot of its higher range and there was an unintended sense of tragedy and loss. 1959’s Last Recording – where Holiday wanted to sound like Frank Sinatra – is rather tragic and sad; Holiday has to be propped up by a nurse at times so she could get through a take. There is a lot of tragedy surrounding Billie Holiday but her impact and legacy cannot be ignored. Holiday’s vocal range was not huge and she did not have a musical education. Like many of the great artists, Holiday’s power came from her unique tones and intuition. Whereas some artists seduced with vocal range and belt, Holiday buckled knees with her intensity and passion. One can read articles relating to Holiday’s best work and fans will have their own opinions. It is a stretch to think, even in good health, Holiday would have lived to the age of one-hundred-and-four! One of my earliest memories of Blues and Jazz music is being played Billie Holiday records such as Lady Sings the Blues and Lady in Satin.

 IMAGE CREDIT: Getty Images

It is clear that Holiday had her troubles – personal, legal and substance-related – but her vocal prowess and stunning music stands the test of time. This article from The Atlantic in 2015 shows how Holiday’s name lives on and how she has inspired many modern artists:

“How many musicians are relevant at 100? Given how quickly styles and sounds change, it's hard to stay current for more than a decade, much less a century. Take Frank Sinatra, who was born in December 1915. Ol' Blue Eyes remains an icon, but Bob Dylan tributes aside, Sinatra sounds, well, old. Louis Armstrong? Still loved by musicians, but mostly known in the general public for his treacly late-career anthem to optimism, "What a Wonderful World."

What accounts for her longevity? For one thing, she's arguably the greatest jazz singer ever. She's certainly the most familiar. Even people who can't tell Ella Fitzgerald from Peggy Lee know that voice, so recognizable and so difficult to describe. And as John Szwed notes in a new book, her myth is also an essential part of her continued appeal. There's her birth to a teenaged, unmarried mother; her rape and work in prostitution before her 14th birthday; her many marriages and entanglements; and her death. Most of all, there's her long battle with heroin, a struggle about which she was unusually open. For many listeners, one suspects, the personal life is inextricable from the professional. The pathos of Holiday's life seems to ooze out between the notes in her voice.

Alternately, some singers have opted to try to reproduce Holiday's sound. That's surprising, given how much importance is attached to Holiday's biography (who can hope to capture that sort of pain?) and given how hard it is to capture what made her so great—the phrasing and musical coloring and nuances. Imitating her strange tone enough to evoke Holiday is easier, and plenty of singers have drawn comparisons to her, from the lite-jazz of early Norah Jones to the twee jazz-pop of Madeleine Peyroux”.

Holiday, as this article shows, broke ground and barriers:

“In 1938, Holiday became the first Black woman to work with a White orchestra. One year later, her label, Columbia Records, would refuse her request to record "Strange Fruit," a song about the lynching of a black man.

Major record labels feared losing sales in the South. Holiday recorded "Strange Fruit" with Commodore Records, recognized as America's first independent jazz record label.

In a 2001 New York Times obituary, Commodore's founder, Milton Gabler, was said to have had one photo by his bedside at the time of his death at the Jewish Home and Hospital in Manhattan. It was of Billie Holiday. She had died 42 years before the 90 year old.

Time Magazine called Holiday's haunting ballad the song of the century. It has sold millions of copies.

The late jazz writer Leonard Feather called "Strange Fruit," "the first significant protest in words and music, the first unmuted cry against racism”.

I think the fact her music is still being played and new listeners are discovering her work shows how important her legacy is. It is amazing to think how long Holiday’s music will be played but listen now and it still sounds completely staggering, evocative and spin-tingling. Even if her later material was quite frail and haunting (in a bad way), it did hold its own special power and place. There are many great Billie Holiday recordings but, to mark what would have been her one-hundredth-and-fourth birthday, I have compiled an essential playlist. Take a listen to this sensation icon whose life might have been short but, in the time she was with us, she made such a mark on…                    

THE music world.

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

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Blissfully Lost Inside the K-Hole

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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...

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 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

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The Kinks Are in the Age Preservation Society?

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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.

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 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…

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 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

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Sneaker Pimps

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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.

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 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.

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 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)

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 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.

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 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

FEATURE: Vinyl Corner: Paul Simon - Graceland

FEATURE:

 

 

Vinyl Corner

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IMAGE CREDIT: Getty Images 

Paul Simon - Graceland

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SOME albums come along and it seems scarcely...

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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.

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 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.

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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

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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...

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…

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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…

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.

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 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.

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 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…

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 PHOTO CREDIT: @seteales/Unsplash

FOLLOW the same path.   

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

FEATURE:

 

The April Playlist

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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

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Hot Chip – Hungry Child

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

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Billie Marten – Cartoon People

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

Mini Mansions (ft. Alison Mosshart) - Hey Lover

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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

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The National – Light Years

Luke Sital-Singh – I Do

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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

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Alison Wonderland – Peace

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Loren Gray – Options

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PHOTO CREDIT: Dara Munnis

Tash Sultana – Can’t Buy Happiness

Circa Waves – The Way We Say Goodbye

Orla Gartland – Flatline

Jasmine Thompson – some people

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Paloma Faith – I’ve Gotta Be Me

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

AURORA – The Seed

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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”.

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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!

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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.

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Follow 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

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PHOTO CREDIT: @diklein/Unsplash 

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

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

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 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”.

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 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”.

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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.

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 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.

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 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

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IN THIS PHOTO: Billie Marten 

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

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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

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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

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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