TRACK REVIEW: The Divine Comedy - Infernal Machines

TRACK REVIEW:

 

The Divine Comedy

Infernal Machines

 

9.6/10

 

The track, Infernal Machines, is available via:

https://www.youtube.com/watch?v=95B31Xpd88Y

GENRE:

Chamber-Pop

ORIGIN:

London, U.K.

The album, Office Politics, is available via:

https://open.spotify.com/album/4pnX8RkztAQj5EgyKKPHyL?si=Rp5Sa4bNRlGpy_2UG8CYAQ

RELEASE DATE:

7th June, 2019

LABEL:

Divine Comedy Records

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EVERY time I think about The Divine Comedy...

I get into this sort of warm headspace full of charming characters and wit. Neil Hannon’s band, in a sense, represents a type of music that doesn’t really exist anymore. Before looking at a great song from The Divine Comedy’s new album, Office Politics, I want to discuss humour and wit in music; characters and building stories away from love; concept albums and how there has always been a bad impression of them; Neil Hannon as a figure we should all look up to and adore; a little on the world around us and why we could do with more of The Divine Comedy – I shall end the review by seeing where Neil Hannon is heading this year. I will start off by talking about music and why, right now, there is not a lot to smile about. That sounds rather dismissive and harsh but I think we can all see that music is pretty serious and does not provide the catharsis we need. I do not want musicians to forget about what is important and stray away from serious subjects but, as we all need something to smile about, music does not really offer that. It is nice to have music that gets to the root of things and can make you think but, if one wants a bit of humour or something lighter, where do they go? That is not to say that Office Politics lacks seriousness and any sort of clout: there is a lot of depth and teeth when required. What I mean is Neil Hannon has always been able to write these songs that make you grin and have this comical edge. Often, he deals with characters that are quite mundane and have the common touch. In this recent interview, he explained how, actually, he does not have the common touch – there is something distinctly him when it comes to songwriting:

“I don’t have the common touch, as everything I do is for me,” he confesses. “I never take the general public into account at all, which is half the reason I’m still here. If people like my stuff, they really like my stuff… [which] is sort of idiosyncratic or idiotic. It does mean that I’ll never be a world-beating person, because I just don’t please enough people.”

It seemed to free him up lyrically, allowing his wild imagination free rein.
“Part of the reason for making this a double album is to keep some of the weirdness,” he says. “Quite often with structured, 12-song albums, you end up weeding out the stuff that is not quite honed and in recent years I’ve been trying to keep more of the oddball stuff, because I think it’s equally useful.”

“Contemporary pop music is in a bit of a state,” he adds. “There is an awful lot of music that seems completely surplus to requirements. There’s the caveat that we said that about 80s pop music as well, and some of that was really good. It was very tribal at the time – ‘Well, the girls like Wham! so we can’t possibly’ – but I really like some Wham! and Duran Duran as well…”

I shall come to the double album and why it is a brave move from Hannon but, I guess, he is one of those writers that loves to let his imagination go and does things his own way. As he states in that interview, the modern Pop scene is not too sharp and there does seem to be a lot of repetition. There are very few writers that have a distinct personality and capture you. Right from the earliest days of The Divine Comedy, Neil Hannon has written these wonderful songs that switch from the mundane and routine to the fantastical. The reason I love his music so much is because, even when he is writing about something quite straight, there is a little wink and bit of cheekiness that can balance things out. I do think that modern music could do with a bit of a shake-up and rethink. The fact that Hannon made that comment regarding expendability leads me to believe there are few modern Pop artists that have their own skin and voice. Not only does Hannon bring in something witty and imaginative into his music but he has a great grasp of characters and real people.

I love the fact that Neil Hannon can write music that has an absurd edge but there is this realness at the heart. A recent single, Norman and Norma, Hannon addressed this couple that grew older together and, just as you think their lives were going to head into tragedy, they were given this reprise; Hannon had this reinactment of the Battle of Hastings and a rather whimsical turn. He can talk about these real-life characters but add that special twist. Maybe I am getting a bit carried away but I do think that Neil Hannon is a rare writer who many should be looking up to. In another interview, Hannon talked about why he uses humour in his songs – but there is more to his music that gags and witticisms:

 “Hannon has gained a reputation for inflecting humour into his songs over the course of his career and it's fair to label him one of the wittiest songwriters of his generation; something songs like Something For The Weekend, Becoming More Like Alfie and the joyous National Express will attest to.

When I ask about the comic streak in his songs, he says: “I have that reputation because that’s the kind of song I like to write. I can’t really change that.

“I think my songs have a range, but even the ones that are about rather dark, serious subjects have moronic flippancy. I think that’s just my way to dealing with those subjects,” he continues.

Speaking about his approach, Hannon went on to say: “I don’t there are gags in a lot of songs, but there are maybe witticisms and turns of phrase. They’re all designed to try and point you in the direction of what I’m trying to say. They’re not there just for a laugh".

From the mixed variations and relatable characters on the hit, The National Express, through to the people he dissects on Office Politics, The Divine Comedy’s work has always captured the eye and the mind. So many songwriters discuss themselves or write about people you cannot relate to. Hannon is masterful when it comes to these average-yet-extraordinary people. It means the songs connect more easily and they stay with you longer. I will talk more about his characterisation and skill but, right now, I wanted to look at why Office Politics excites me.

There is still this reliance when it comes to love and personal relationships. Most artists put their own lives onto the page and concentrate on relationships. That is not too bad but I feel, when you hear it so much, you want something a bit different. I look out at music now and there is very little that interests me in terms of subject matter. I do feel it is important to document personal issues and something deeper but, when you want that leap of imagination or something that has original edge, you are a bit stuck for choice. Love is this over-used commodity that tends to get a bit boring after a while. Hannon puts in a few relationship-type songs on Office Politics but there is an emphasis on the workaday lives and focusing on other subjects. Through this concept – which I shall talk about very soon – we get these vivid and tangible characters talking about things you and me think about. One of the problems with an over-reliance on love is the fact that is can be pretty personal and it does not always mean people can relate and understand what is being said; a little separate to the conversation that is happening. With an album like Office Politics, the frustrations, tests and ordinariness of everyday life is uncovered and presented in this very colourful, fascinating and human way. To some degree, we have all interacted with the images on the album and the types of situations played out. I do feel that music lacks a certain reality and relevance at the moment. There are a lot of artists talking about deep and challenging issues but one yearns for something a bit more run-of-the-mill. That might sound strange but I do think songwriters are afraid of revealing the routine and normal because they feel it is, maybe, a bit boring or hard to make interesting at the very least. Neil Hannon shows just how interesting and eye-opening music can be when you actually look at the people around you and put that onto the page. Songwriters used to do it a lot more years ago but we have lost a lot of those acts. I am glad we have Neil Hannon in the world; a man who puts the ‘extra’ in ‘ordinary’.

PHOTO CREDIT: Martyn Goodacre

Office Politics is an album that is built around a concept. A lot of the songs, as you can imagine, are based on office politics, machines and technology; the commute and the stresses we all go through. The double album is not beholden too strictly to the ins and outs of the office day but there is this arc that takes us through the traverses and tribulations we all face; a bit about general politics and other songs that deal with relationships and interesting people. I guess, rather than a strict concept regarding office politics, it is a representation of a working week and the experiences we all go through. Hannon takes us into different office and through different windows. He leads us into stern scenarios and then backs us out with something quite ribald and unexpected. One might look at the words ‘concept album’ and get the wrong impression. I think I have covered this before but many of us think about the concept album as a rather pretentious and long-winded thing. I think this all harks back to the Prog-Rock bands that would bring out these concept albums that were quite ridiculous and interminable. We would listen as there were endless guitar solos and songs about the most insane thing. It is hard to write a great concept album because the music is built around a theme and has to have that focused narrative. It is hard to write a concept and keep the listener’s attention I think. I do think, with short attention spans, maybe people will get a bit bored or want something different. I love concept albums because it tells a story and you get something cinematic and theatrical unfolding. There is this sniffiness because of the older days; where bands would take forever to reach their point and it would be quite ponderous. Through recent years, there have been some great concept albums. From The Streets’ A Grand Don’t Come for Free – about Mike Skinner losing a grand and then it (the money) bring found at the end – through to Green Day’s political album, American Idiot.

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 PHOTO CREDIT: Alain Bibal

There have not been that many over the past decade but I do feel like The Divine Comedy can inspire others. Journalists will turn their noses up at concept albums but I do feel that, if the balance is right and you strike the right tone, they can be fantastic. In this case, Neil Hannon is looking at the machinations of office politics and the challenges of daily life. Although there are deviations and some left turns here and there, there is this abiding theme and concept. I do think the world is pretty strained and divided at the moment so we all need something that offers a bit of relief and fascination. Modern music has its moments but there is something wonderful about Office Politics that lifts the imagination and makes you smile. Does this mean that other artists will follow The Divine Comedy and write a concept album? I do think that, soon enough, we will see more artists stray from the conventional and write in a slightly different way. There is this sort of saturation point where we have pretty much heard everything about love and, when looking at artists like The Divine Comedy, there is this wonderful alternative. I shall move on to a different theme in a second but I think we all need to put aside our reservations and impressions regarding the concept album. We get a bit hung up on what it will sound like and the sort of thing we will get. Modern artists – such as The Streets and The Divine Comedy – have that common aspect (even though Hannon argues against this) where they can bring the routine and familiar into the light; do so in a very exciting and unique way. I have been listening to recent interviews Neil Hannon has given and, more and more, he strikes me as one of these people we should all be looking up to. That combination of wit and accessibility makes him this very inspiring and wonderful figure.

 PHOTO CREDIT: David Conachy

I love listening to Neil Hannon speak because he has this warm and wonderful tone that he projects. You get great anecdotes and insights form a man who can really speak with people. By that, he comes across as very grounded and ordinary. So many artists have this aura of being quite distant and hard to relate to. Maybe it is a perception of who they should be and how they should act but I do feel like a lot of artists are difficult to appreciate and understand. With Neil Hannon, you feel this like-minded soul that is writing about us and for us. His music has this quality where you can appreciate every word and know exactly where he is coming from. Hannon’s humour and way with words is legendary and he strikes me as a songwriter that does not get the credit he fully deserves. There are very few out there like him and, at a time when there are so many lookalikes and artists that follow the pack, we need to use the likes of Hannon as examples of what could be. Lots of people know about The Divine Comedy and what they have produced and it would be great to think that, in a few decades from now, the music is still being played and examined. I do think a lot of the modern day ‘best’ will fade because it does not really stand out. It does not have a lot to say and, largely, we will pass it by. Neil Hannon is a writer who wants to make the music last and you see and hear every ounce of his being in the music. That is a rare quality to find and I think, because of that, The Divine Comedy will endure and influence other artists. I shall stop prattling on now because there is a song, Infernal Machines, that I must get around to. It is a brilliant number and a prime example of the quality that can be found throughout Office Politics.

  PHOTO CREDIT: Alain Bibal

Infernal Machines opens with some crackle and far-off noise. It sounds like machinery or rubbish being dispensed. It is hard to identity the exact sound but there is something rumbling in the distance. Just then, we get a bugle playing that seems to summon the upcoming army; a mood change that does hit rather unexpectedly. One thing I was not expecting was a rumble from the drums and some epic riffs. In a way, it is almost like The Divine Comedy sounding a bit like Kasabian! That is no bad thing and, in fact, it takes you completely unprepared. I guess I am used to hearing something more calmed and composed and, when you hear this rawness and Rock, it takes a while to settle. There is no predicting what The Divine Comedy will do and you are always kept on your toes. I guess, considering the song is about machines taking over, you need something a bit gritty and intense. Hannon comes in and talks about machines asking us to do this and that; us being ordered around and being led by technology. Instantly, I was thinking about computers and the work routine; the way we are reliant on machines and their orders. There is a nice groove to the vocals as, backed by the guttural guitar, Hannon lists all the things that machines can do. They are in our schools and shops and can do the things we cannot. They can make our lives better and easier but they also dominate and distract. Listening to the song, you are caught in this hypnotic pull that sort of drags you in to another world. I do love the fact that the sound of Infernal Machines is a mile away from a song like Norman and Norma. In the space of a few songs, Hannon has changed directions radically. It makes for a much more varied listen and it is staggering to see the sheer range and boldness on display. Infernal Machines is this wonderful song that has a rude beat that gets you swaggering - and you are helpless to resist.

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PHOTO CREDIT: @simonlittle

As the song goes on, there are yet more and more uses for machinery. Not all of them are good but, as time elapses, we understand just how many different types of technology are used and how we sort of lean on machines. There are machines up and above; machines making love and making toast. One can say that a song like Infernal Machines would have been relevant decades ago considering how omnipresent they have been but, in recent years, they are completely taking over. Technology in general is more rampant than ever and we cannot discount the fact that, for every demand and possibility, there is a machine that can do the job. In a way, Hannon is talking about the technological takeover and how it is impacting our jobs. People are losing their jobs because they are being replaced by machines. We think less and are being spoiled with machines that are doing things that human beings should be doing. There are machines – as the list continues – that know right from wrong and have all these different sounds. Infernal Machines precedes a track called You’ll Never Work in This Town Again and it sort of explores the way people are outsourced and made less essential by technology. I have not really heard The Divine Comedy use guitars and drums in such a way. Infernal Machines is never too intense: instead, it has a funkiness and odd wiggle that has a catchiness and coolness. You listen to the song again and again just because of the composition and its physicality. We get some piano and other sounds but it is the central force that gives the song an appropriate menace and chug. The track changes direction and, after the propulsive and grumbling centre, we get a little bit of piano and deviation. We are told there are machines that will take over the world and machines for boys and girls.

You hear Hannon recite all the different types of machines but there is a deeper meaning. It is not merely an idle list of machines but there are deeper meanings. He talks about gender and jobs being lost; the fixation we have with technology and how companies are exploiting people. As the song comes to its end, the instrumentation rides out and we get some cogs, bubbles and noises that reminds me of The Beatles’ Yellow Submarine. It is impossible to forget the riff of Internal Machines and the incredible vocal from Hannon. You might need a few listens to take in all the different images and use of machines Hannon brings in. I was not expecting anything like Infernal Machines to come from The Divine Comedy but, with Office Politics, this is them/Hannon broadening their scope. It is a fantastic song and one I was very keen to review. Make sure you check out the whole album because it is a masterful work and, in my view, one of the best albums of this year. Infernal Machines has serious messages but there is a lot of fun to be found. With The Divine Comedy, there is always this cheeky grin and wit that keeps things fresh and light. I do hope we never lose the magic and mystique of Neil Hannon from music.

 PHOTO CREDIT: @BBC6Music

Office Politics is receiving rave reviews right now and I think it is one of the best-received albums from The Divine Comedy in quite a while. Maybe it is the nature of the songs and the fact there is this concept that has resonated. We can all relate to what is being said through the album and we it is easy to dive into the songs and appreciate their messages. The Divine Comedy always produce sensational music but I think Neil Hannon has really struck a chord here. There are tour dates coming up and The Divine Comedy will be busy through the rest of the year. There are dates around the U.K. and Europe and it will be exciting seeing the music reach new people. With another big album under the belt, make sure you go and catch them play and see this incredible central figure, Neil Hannon, seduce and amaze. I do think there will be changes in music regarding themes artists explore and what is discussed. I am getting a little bored with hearing the same thing and I think Office Politics should act as a hand guide to others. Every now and then, we need to explore something different and stretch the imagination a bit. Neil Hannon has always done this and it would be good to see more artists follow from him. I am not sure whether there is more material bubbling away but I suspect we will see another album come through in the next couple of years. Right now, Hannon and crew are busy with promotion and preparing for some big tour dates. If you are new to The Divine Comedy, Office Politics is a great place to start but I suggest you trek back and investigate all the albums. I am not sure whether, on a future album, Hannon will do something similar to Office Politics - but you never know with him! He is this masterful and unpredictable songwriter who has a voice we should all cherish. I do not think there is another songwriter out there like him; one who can make us smile and think in quite the same way! Long may he continue to put out music of the highest order because, right now, the world needs him. I will leave things here but I encourage people to check out Office Politics and let it swim in the blood. I chose Infernal Machines for consideration but, in truth, the (double) album is packed with gems. At a time of consternation, uncertainty and fear, we definitely need to embrace the wonderful music of The Divine Comedy. It does not shy away from the realities of the modern world but there is humour, ordinariness and wonder to be found. Step into the world of The Divine Comedy and everything seems more settled and better. If more artists could do what Neil Hannon is doing right now and I think it would be a much more interesting and happy…

MUSIC industry.

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Follow The Divine Comedy

FEATURE: Pride After a Fall: Music’s Ability to Change Attitudes and Bring Deeper Understanding

FEATURE:

 

 

Pride After a Fall

PHOTO CREDIT: @julfe/Unsplash 

Music’s Ability to Change Attitudes and Bring Deeper Understanding

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AWAY from ongoing dramas in British politics…

 IN THIS PHOTO: Melania Geymonat and her girlfriend Chris were attacked in London earlier this week/PHOTO CREDIT: Getty Images

something else has been making the news. It is Pride Month; a time when the L.G.B.T.Q.I.A. community should feel safe, respected and included. Rather than talk about celebration and togetherness, gay rights and inclusivity has made the news for the wrong reasons. If you did not hear the news; a gay couple, Melania Geymonat and her girlfriend Chris were attacked by youths in London for not kissing. A group of young men wanted them to kiss and, after they refused and tried to keep to themselves, they were set upon. The photo of them post-attack, bloodied and shocked, has appalled the nation and raised huge backlash:

“Melania Geymonat, 28, said the attack on her and partner Chris happened on the top deck of a London night bus.

A group of young men began harassing them when they discovered the women were a couple, asking them to kiss while making sexual gestures.

Four other males aged between 15 and 18 remain in custody, the Met said.

They are being questioned on suspicion of robbery and aggravated grievous bodily harm.

Speaking about the attack, which happened in the early hours of 30 May, Ms Geymonat told BBC Radio 4's World at One she had previously experienced "a lot of verbal violence".

But she said she had never before been physically attacked because of her sexuality.

Asked whether the attack left her less willing to show affection in public, Chris, who lives in north London but is originally from the US, said: "I am not scared about being visibly queer.

"If anything, you should do it more."

Ms Geymonat, who is a doctor but currently works for Ryanair as a stewardess, said she agreed.

Chris said: "I was and still am angry. It was scary, but this is not a novel situation."

Over the five years to 2018, reported homophobic hate crimes across London have increased from 1,488 in 2014 to 2,308 in 2018, according to the Met Police's crime dashboard”.

It is good that there have been arrests and, let’s hope, those culpable are imprisoned and it sends a message to those who want to commit similar attacks. It is 2019 and we still live in a nation where there are such horrific incidences; where people are attacked because of their sexuality. One can say that the case above is an isolated incident that is not widespread in Britain. Whilst there are not waves of brutal attacks against gay men and women, there are plenty of cases where their sexuality has been degraded and mocked; where they have been made to feel inferior and wrong. I know a few L.G.B.T.Q.I.A. musicians and they have struggled to get the same rights and exposure as their straight peers. Although the music industry is, largely, a place of love and support, it is still hard for many gay/bi-sexual/transgender artists to get a break and the same platform as everybody else.

I do think that music, where politics fails, has a role to play and can help bring about greater visibility and awareness. I have written about Pride and L.G.B.T.Q.I.A. matters a number of times but, as we see images of hate in the news, it does make me wonder whether enough is being done to discuss the LG.B.T.Q.I.A. community and show that any prejudice is ridiculous and misguided. I am not sure what was going through the heads of the young men who attacked those innocent women in London but one suspects an ignorance and juvenile stupidity was their motivational force. Another case that has shocked and appalled people concerns protests that have been happening outside a primary school in Birmingham:

“Protests against LGBT teaching at a Birmingham primary school are "homophobic" and must "stop now", the West Midlands mayor has said.

Andy Street said he was in "disbelief" at material distributed by protesters outside Anderton Park Primary.

The mayor, who is gay, told the BBC he had thought homophobia was a "non-issue in our city".

A High Court injunction is in place banning protests, which have been going on for months, outside the school.

Parents started to gather at the gates over concerns children were "too young" to learn about LGBT relationships. They also said the lessons contradicted Islam.

In an exclusive interview, Mr Street said the protests do not reflect the "modern, tolerant, inclusive place that Birmingham is".

He has also said the Department for Education (DfE) needs to strengthen its guidance around equalities teaching.

Anderton Park head teacher Sarah Hewitt-Clarkson previously spoke of receiving threatening emails and phone calls and Mr Street said the government was letting head teachers down by not taking a clearer stand in favour of the teaching.

The Conservative mayor has now called on the DfE to "stand actively behind the guidance it has given" around teaching about equalities”.

Of course, these are just two incidents of protest and anger against the LG.B.T.Q.I.A. community. From animalistic youths attacking two young women to parents and a community protesting against a school teaching children lessons about L.G.B.T.Q.I.A. issues. Maybe there is confusion as to what the children are being taught but, from the wave of protests that have been taking place, there is little confusion from those responsible. It is a blatant case of homophobia and, in a modern world where the sexual spectrum is broadening, does anyone have the right to interfere with sex education and lessons in this way?! It is not good enough for parents to say their children should not be subjected to L.G.B.T.Q.I.A. lessons and what they consider abnormal. I think it is abhorrent and reckless to protest against schools and send any threatening communications to teachers.

 PHOTO CREDIT: @charbutch/Unsplash

There is a lot of hate and anger in the U.K. right now and, at a time when we are unsure as to our status in the E.U., attacks against the L.G.B.T.Q.I.A. community are just adding to the intensity and division. Of course, there are many more cases across the nation where L.G.B.T.Q.I.A. and non-binary people are subjected to judgment and discrimination. There are shocking incidents where certain people are attacking Gay Pride Month and comparing it to a dictatorship. There are some Pride events happening across the country but it seems like there is a lot of hatred and vileness circulating. One does not need to be a member of the L.G.B.T.Q.I.A. community (I am not) to know that we are all the same and, in 2019, why do we have to see such vile cases of people attacking others based on their sexuality?! I do think we need to come a long way and there has been slow progress regarding understanding. No matter your sexual preference, I do not see why there is such ignorance and intolerance. Running alongside a couple of nasty occurrences around the U.K., there is a lot of shame and desperation across the world – the so-called ‘Straight Pride’ movement is, as you can guess, is straight people celebrating their sexuality. I have seen so many people celebrating Straight Pride and asking why there is a Pride Month that recognises the L.G.B.T.Q.I.A. community – where is the special month for heterosexual peoples?!

In the U.S., ugliness has reared its head, and you only need look on social media to see the number of idiots who have been challenging Pride Month with their own entitled and offensive equivalent. I am not surprised there is a lot of negative reaction to a month/event that celebrates and highlights L.G.B.T.Q.I.A. people. We live in a world where someone, somewhere will attack and undermine something good and positive. It is unnerving seeing so many people show their ignorance and selfish motives but, as I said, you half-expect this kind of thing. I know there are great organisations and bodies that spread the positive messages of the L.G.B.T.Q.I.A. community and I am always encouyraged to see the sort of unity and passion coming from social media and people out there – a lot of positivity and connection from all corners! The hatred that I am talking about is from a minority but, as you can imagine, any form of hatred and attack against L.G.B.T.Q.I.A. people is shocking. I have mentioned how the music industry is not excluded from hatred and ignorance. I have heard from artists who feel like they have to distil who they are in order to get acclaim and attention. It seems a shame that we have made leaps in some areas of society but there is still a lot of misunderstanding. Look at the mainstream and we do not hear a lot of messages regarding L.G.B.T.Q.I.A. matters – suggesting a lot of the artist who do talk about it are doing so away from the limelight.

 IN THIS PHOTO: L.G.B.T.Q.I.A. artist Perfume Genius/PHOTO CREDIT: Hedi Slimane

I know there are a lot of great Pride songs and L.G.B.T.Q.I.A. artists around but you do not hear many of them in the mainstream. The scene now, as it has been for decades, is so heteronormative and one wonders whether, in a way, we have gone backwards. We are living in a time when Pride Month is bringing people together but there is still a lot of judgement and attack. Whilst music is much more loving and tolerant than other areas of society, I think there is this huge platform that would not only allow L.G.B.T.Q.I.A. artists to get their voice heard; it would also allow a thread to run through music that is being supressed from a lot of mainstream education. One might think that, if we did hear more about the L.G.B.T.Q.I.A. community through music, there might be the same backlash as we have seen in the Midlands – and there might be more provocation on social media. I do think that there is this impression that heterosexuality is the desired normal and anything other than that should be marginalised and kept private. I am not suggesting music changes its colour and look but there is still this vast majority of straight artists ruling – fewer messages and songs concerning any other form of sexuality. The sexual spectrum is wide and complex and I think music has the responsibility to be more open and increase channels of communication.

So many great L.G.B.T.Q.I.A. artists and anthems are inspiring in the underground but there are many who feel fearful about letting their songs run free; fearing there would be less attention and some discomfort. It is obvious we have a long way to go before artists of all sexualities are given equal opportunities and focus but, right now, there is this fetid and unappetising scent of ignorance, homophobia and misogyny. Whether it is protests at primary schools or random attacks on buses, I am shocked that we have to witness such things. Music is an immensely powerful tool and, whereas some might think using music to talk about Pride and the L.G.B.T.Q.I.A. spectrum is a form of propaganda, those with a more logical and loving mind, surely, can see the benefits. I do look out at the mainstream and you see the same thing: straight artist talking about heterosexual love. I also not saying we need to make allowances and write new rules so that a percentage of songs out there are non-heterosexual; that might not work in practice but, instead, labels and music bosses need to make the scene more open and balanced. I do think that musicians, L.G.B.T.Q.I.A. and straight, can help bridge gaps and bring about greater acceptance. Maybe that sounds undermining to those who are working tirelessly to create balance and tolerance but I mean to say music is immensely powerful and influential.

 PHOTO CREDIT: @clemono2/Unsplash

Artists are out there talking about division in the country and political strife; they are discussing mental-health problems and suicide but, when it comes to L.G.B.T.Q.I.A. rights and subjects, are we hearing enough of it? L.G.B.T.Q.I.A. artists are doing their bit but, away from them, there is a general silence. Anything that can reduce attacks and mindless ignorance is a good thing and I do feel music has a lot of sway. Whether it is L.G.B.T.Q.I.A. artists being given more time and airplay or mainstream artists bringing the sexual spectrum more directly into their music…I think that can help redress some of the hatred out there. I mean, there is more positivity out there than negativity regarding Pride Month but I do worry that there are so many people who are tarnishing its good name and intent with their own agenda and misunderstanding. I do feel music is turning into this alternative government where big subjects are being tackled and there is this important platform. It is great seeing mental illness being included into songs but, away from traditional love songs and heterosexual subjects, what of the L.G.B.T.Q.I.A. community and Pride Month? I shall wrap things up but I, like so many out there, have been left stunned and upset by seeing cases of assault against L.G.B.T.Q.I.A. people; an intolerance and vileness that is hard to expunge from the memory.

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 PHOTO CREDIT: @janasabeth/Unsplash

These perpetrators might be the minority but I think, in a wider sense, there is a lot of discomfort and misunderstanding regarding Pride Month and L.G.B.T.Q.I.A. artists. Music is this channel and community of love and equality and, as we are seeing people actively push against L.B.T.Q.I.A. teaching, can music help readdress the problem and lead to change? I am concerned that there is still a long way to go before there is true equality and understanding – but there is a big voice out there and people getting involved. It is distressing seeing people ignored and attacked because of their sexuality and it really needs to stop. It is not a simple solution and plan of attack when it comes to music. True liberation and acceptance does not happen overnight but I do feel like music can play a vital role. There has been some shocking hatred out there but, when you look at social media love and lots of positive outpouring, it is clear the majority want to bring L.G.B.T.Q.I.A. discussions to the forefront. If we can help lessen the ruthless and mindless attacks, educate those who are attacking L.G.B.T.Q.I.A. teachings and ensure there is better understanding, that would be something. There are some terrific L.G.B.T.Q.I.A. artists spreading the word and, if the mainstream can open its doors and ensure there is a greater balance, sexuality-wise, at the top, that is a potent and powerful way of bringing the L.G.B.T.Q.I.A. community and voice…

TO the front.

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: ROZES 

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

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THIS weekend offers little…

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 IN THIS PHOTO: Japanese Breakfast

in the way of consistency and stability when it comes to the weather but, with summer just around the corner, I think we can say that, soon, the conditions will be a lot fairer and more conducive to happiness. In the meantime, I have been looking around at the best female-led songs around. These are the brand-new – with some slightly older tracks – tunes that you need to get behind. From Pop and Country through to Soul, there are some belters in the collective. I am always excited and blown away by the sheer range and passion that is out there; provided by some incredible women. Take a listen to the songs below and I just know there is something in there that will…

IN THIS PHOTO: Friedberg

LIFT the spirits.

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

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Kat Saul – Compromise

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Julia Church – Square 1

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PHOTO CREDIT: Donna Lamarr McKeown

Grace Acladna – Brain Crush

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Amber Mark – What If

WILDES – True Love

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Kiiara – Open My Mouth

Chlöe Howl – In the Middle (Sad Banger)

Sabrina Carpenter – In My Bed

PHOTO CREDIT: Brian Vu

Yohuna – So Free

Sarah Darling – A Boy Like You

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QUEEVA – Young, Wild, and Free

Kalsey Kulyk – Bad Liar

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PHOTO CREDIT: Max Parovsky

Friedberg – Go Wild

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PHOTO CREDIT: Amber Carpenter

Kate Bollinger – Candy

PHOTO CREDIT: Salim Garcia

Crumb – Fall Down

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Stef Chura – Jumpin’ Jack

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Japanese Breakfast – Head Over Heels

Tanya Tucker – The Wheels of Laredo

Pip Blom – Bedhead

Kiana Ledé – If You Hate Me

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Carlie Hanson - Hazel

Nicole Easy – I’m Leaving

ROZES – Call Me

Middle Kids – Real Thing

Sophia Messa – offyourface

Gia Woods – Feel It

Mabel – Mad Love

Hanne Leland – Weak for You

INTERVIEW: Olympia

INTERVIEW:

PHOTO CREDIT: Pierre Toussaint  

Olympia

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I have had fun talking with Olympia...

 PHOTO CREDIT: Cybele Malinowski

who has been telling me about her new single, Hounds, and what we can expect from her upcoming album, Flamingo; what sort of music inspires her and which albums mean the most – she recommends some rising talent to look out.

I ask the Australian artist if there are tour dates coming and how she spends time away from music; whether there is any advice she’d give to artists emerging and who she’d support on the road if she had the choice  - Olympia selects a pretty cool song to end things with.

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

Hello. Great, thank you!

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

I’m an Australian-based artist performing under the moniker ‘Olympia’.

Hounds is your new single. Is there a story behind the song?

The whole album is a bit of a throwback to my love of albums having a narrative arc (or rather just albums in general). The album has high points and more fragile ones – Hounds is one of the Friday nights in the world of the album.

It means something as part of the whole and, on its own, it is about observing someone who is being a bit of a dickhead. Someone who performs tricks for others ‘cut in half’; to appease and someone who could ‘drown in the sun’.

It is from the album, Flamingo. What kind of things can we expect from the album in terms of themes and songs?

I’d set out to make something different to Self Talk with this record. I really wanted to challenge myself as an artist and try to break through to something that surprised me - something new.

When Self Talk came out, I often got labelled as a Synth artist - which was quite funny to me (less so to my friends who actually are Synth artists). But, there is always this tendency to pigeonhole with blanket terms like ‘Pop’, ‘Rock’ or ‘Synth artist’ - it’s limiting (for both the artist and also stymies the curiosity of the audience). I’ve always felt that what we were making was bigger than any one thing and that it would take another record to demonstrate that. And here it is!

Flamingo is an emotional force. It’s different to Self Talk from the get-go; how I wrote the album, instrumentation and production choices. Everything was about creating something urgent, confronting and modern; an atmosphere you step into from start to finish.

It’s a love record. More visceral than Self Talk – lyrically, it is speaking from within an experience, rather than from afar. I’ve heard writers/artists often discuss moving to New York to be close to the place where things happen and, on this record, I’ve tried create an environment so that the whole record is speaking from this emotional place and is informed by this energy. You’ll hear this in the choices of language: to strip out metaphor that you hear on Self Talk to, instead, try and tap into the unfiltered, uncensored self. Sonically, it’s probably more urgent. It is certainly not a passive record. There are no take-backs and no apologies; guitars are up front, vocals are sung hard and we drove the studio gear to distortion.

When growing up, what sort of music were you exposed to?

Everything - it was a very eclectic household. I have really strong memories of listening to artists as diverse as Patsy Cline; The Andrew Sisters; Bob Marley; Nirvana; Chicago; Tower of Power; The Ronettes, etc.

We didn’t grow up in a large city and weren’t necessarily exposed to a culture of icons/stars, so instead my discovery of music was (and still is) very organic. It also meant my approach to music was a little more egalitarian. It just felt like anyone could pick up an instrument and have a go – I didn’t grow up with a sense of ego about music. One of my all-time favourite things was to tape music off the radio. This exposed me to a broader range of music including a lot of world-music artists such as Sheila Chandra.

PHOTO CREDIT: Cybele Malinowski

What plans do you have for the rest of 2019?

We are releasing the record in exactly one month today, which is pretty huge. Following that, we’re lucky enough to be touring this record to the U.K. for Latitude Festival and Europe in September; Australia in October.

How important is music to you, emotionally and psychologically?

Music is how I’ve come to know myself and my place within the world.

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

Probably having Midnight Oil use Smoke Signals as their walk-on song all around the world.

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

I will instantly change my mind as soon as this discussion is over. But, first off my head:

Transformer - Lou Reed

There’s everything to love about this record - it’s perfect. Transformer is probably one of the strongest anchor points of the new album. The mix of melancholy and levity, dark humour (and subject matter); B.V. lines.

Pink Flag - Wire

This record has had a massive influence on me as an artist and is my go-to record whenever I’m feeling a bit stuck. It’s endlessly refreshing.

Portishead - Portishead

This is a painfully perfect record. It’s an incredible listening experience.

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

Alan Vega with a rider of a masseuse.

What are your other plans regarding gigs/touring?

We have some big shows planned that will encompass more of the visual aspects of the album.

If we came to see one of your gigs, what might that involve? Do you love being on the stage?

The live show is high energy. We work hard at making it an immersive experience for the audience.

Is there any advice you’d give to upcoming artists?

Remember to have fun.

 IN THIS PHOTO: Jade Imagine

Are there any new artists you recommend we check out?

Jade Imagine, Merpire; Emerson Snowe and Jess Ribeiro.

 IN THIS PHOTO: Merpire

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

I stalk Adam Curtis online.

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).

Colour Television – Eddy Current Suppression Ring

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Follow Olympia

FEATURE: The June Playlist: Vol. 2: A Bold Reinvention, Hesitant Lover and Shadowy Dance

FEATURE:

 

The June Playlist

IN THIS PHOTO: Bon Iver 

Vol. 2: A Bold Reinvention, Hesitant Lover and Shadowy Dance

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THIS is one of these weeks…

 IN THIS PHOTO: Madonna

where there are some really big and popular releases and a lot of smaller tracks. That is no slight against this week’s music but, when you look at the split in the playlist below, you can see a real divide. I like the less prominent songs but, with material from Madonna, Róisín Murphy and Bon Iver around, we are guaranteed some pretty titanic moments. It is an interesting week at the very least and it is good to see that clash of the mainstream and the under-the-wire. Whatever music you are into, I think you will find something in the rundown that you will love. Take a listen to the great songs below and they are guaranteed to get you in the mood and make sure the weekend gets off with a kick. Despite the lack of humungous releases, there is enough gold to satisfy, that is for sure. Here is another excellent assortment of songs that will get you…

 PHOTO CREDIT: Róisín Murphy

ENERGISED and hot.  

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

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PHOTO CREDIT: Christian Bertrand/Shutterstock.com

Bon Iver – Hey, Ma

 PHOTO CREDIT: Nicole Nodland

Róisín Murphy – Incapable

Madonna – Dark Ballet

Liam Gallagher – Shockwave

PHOTO CREDIT: Travis Shinn

PIXIES – On Graveyard Hill

AURORA – Daydreamer

Jai Paul – Do You Love Her Now

PHOTO CREDIT: Alex Knowles

Foals – Sunday

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Bastille – Those Nights

Mabel – Mad Love

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IN THIS PHOTO: Billie Marten

Sonny Santos and Billie Marten - swear 2 g-d

Avicii – Heaven

Sløtface - Telepathetic

Russ – Paranoid

Dinosaur Pile-Up – Backfoot

The Divine Comedy – Infernal Machines

Luke Combs – Even Though I’m Leaving

Whitney – Giving Up

Chase Rice – Lonely If You Are

Yoshi Flower – space

PHOTO CREDIT: Florencia Lucila

Younghusband – Sister

Black Eyed Peas (ft. Snoop Dogg) – Be Nice

Keane – The Way I Feel

PHOTO CREDIT: Jonathan Weiner

The Glorious Sons – Panic Attack

Yizzy – On a Low

Kiiara – Open My Mouth

Jamie Cullum – Mankind

Swimming Girls – I Don’t Wanna Get to Heaven

Gia Woods – Feel It

MUNA – Number One Fan

Olivia Reid - Norfolk Drive

GASHI – Roses

TRACK REVIEW: Róisín Murphy - Incapable

TRACK REVIEW:

 

Róisín Murphy

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PHOTO CREDIT: Fraser Taylor 

Incapable

 

9.7/10

 

The track, Incapable, is available via:

https://www.youtube.com/watch?v=9-nI_z4ZHUY

GENRES:

Electro-Pop/Dance-Pop/Art-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

5th June, 2019

LABELS:

Mickey Murphy’s Daughter Limited/Loaded Records Limited

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IN this review...

I get to talk to someone who I have admired for a very long time and not reviewed for a long time. I think the last time I featured Róisín Murphy was when I featured her album, Take Her Up to Monto, for a publication I used to work for. I gave the album four stars and, on Twitter, she wondered what it would take to get a five-star review – given that I gave the album such a glowing and effusive review. To be fair, she had a point: I was honest and generous and it should have been full marks but, as instructed by my editor, five stars are given out for rare occasions. This time around, I have (to some degree) corrected that when assessing her latest single, Incapable. I want to talk about a few things before I get there. First, I will describe the new Murphy’s Law; the way the songwriter has this consistency and is showing other artists how to do things; the showstopper Murphy who, I feel, warrants some British headline attention; the reason we need Murphy to keep producing music; those with true personality in the industry and what comes next for her. The ‘normal’ Murphy’s Law states that, if something can go wrong, then it probably will. That seems to apply to everything our Government is doing right now. In terms of music, there is someone who is getting everything right. Róisín Murphy, I feel, has not dropped a step as a solo artist and always seems to hit these rare heights. I think that, when it comes to producing original and stunning material, there is nobody like Murphy around. She is this incredible creator who ensures everything that she puts out is of the highest standard. Although I have employed some wordplay and there is, so far as I know, no Róisín Murphy’s Law, I think there should be. She is one of the best artists around right now and I cannot think of anyone on her level.

The reason I brought up this subject is because, in music, you do not get this sort of consistency that often. There are some artists who have a good run but, in terms of pushing to new levels and stretching the imagination, Murphy is a rare example. I will move on in a second but look at her previous albums, Take Her Up to Monto (2016) and Hairless Toys (2015). Although I didn’t give the former the full respect it deserves, the album resonated with critics and was a big success. I do wonder whether there will be another album from Murphy coming very soon but one only needs to look at Murphy’s solo career and work with Moloko to see what a body of work she has produced. At a time when there are few big smashes and artists that capture the imagination, Murphy is this ball of fire that keeps releasing these staggering songs. I do think that we need something uplifting in music because, the more you think about it, the more it makes me wonder whether music has become too glum. Thankfully, there is Róisín Murphy who always gives the world these stone-cold smashes. Maybe it is me being dewy-eyed but I do really love what she is doing and it is amazing to see the leaps she takes. There are very few other artists around who can release a series of singles that all have their own personality and voice. That is worth noting when we look at Incapable. Right now, Murphy is putting out singles and, so far as I know, there is no album title revealed yet. One suspects there will be a release very soon but, rather than bow to convention and the usual cycle, we get these great singles from Murphy. There have been a few put out but, up until now, Jacuzzi Rollercoaster was my favourite. Now, with Incapable doing the rounds, I get to cherish another slice of gold.

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I was mentioning how, between singles, Murphy changes sound and evolves – and this is highlighted on her latest track. Very few can draw a straight line from the likes of Jacuzzi Rollercoaster and get to Incapable. You know the songs are from the same artists but, in terms of themes and sounds, there is a bit of a leap. Not only that but you have these classics songs that stand in their own right and do not need to be part of an album. I do feel other artists need to look at Róisín Murphy because she is not someone who follows the pack and does what is expected. I was watching a Top of the Pops special yesterday night that took us back to 1988. I noticed a couple of things from the programme. Not only was the music – Pop/House and Rap – pretty fun and funky but there was this sense of unpredictability and energy. I do feel there are a few songs bubbling about that have a sense of fun but there are not that many. Also, one feels that singles and albums are laboured and there is little sense of mystery. If out Róisín Murphy’s Law dictates that, if things can go right and upbeat then they will; maybe we should also throw in another codification: She will not be prone to the weary promotional cycle and will be able to express herself in a unique way. By that, I mean the songs are not being teased endlessly on social media and they do not have that key ‘impact date’ – the ‘perfect’ moment a song is released so that it makes the biggest mark. No. Murphy seems to take us back to a time when singles were a very important part of the musical landscape and, indeed, there was an element of surprise and joy. Not that music has lost all of that but I do like the fact there are artists who just release singles and want to make these separate works – not necessarily leading to an album or part of some big campaign.

Perhaps this is just me showing my age but I am so glad we have pioneering voices like Murphy’s in the music business. Not only is Róisín Murphy a terrific songwriter who keeps producing these epic hits but, when you see her live, she sort of takes the breath. I have seen photos circulating of her killing Primavera Sound. This is a festival that is very important because of its diversity and sense of equality (more on that later). Murphy was part of this eclectic and wonderful line-up and was a definite standout. In fact, look at her profile page from the Primavera Sound webpage and it sort of describes what you get from her shows:

“Róisín Murphy is a painting. Róisín Murphy is a sculpture. Róisín Murphy is a loud outfit. Róisín is (of course) a song that surprises, disrupts and moves. Róisín is… Art. Pop art, of course. She could limit herself to filling studios with her voice, but she has always wanted to assault our senses in a three dimensional way. The control on all the aspects that makes music an audio-visual artefact has led her to being an icon dressed in cubist fashion, to rolling up her sleeves, and getting behind the camera to direct all her videos from Hairless Toys to the string of new models of disco music that she has released in single format during 2018”.

I am yet to see the great Murphy in the flesh of the live arena but I have seen video footage and read enough reviews to know Murphy is a very special performer. Not only does one get a range of outfits and fashion choices – Murphy does like her clothing and to explore the boundaries – and you always get this arresting visual aspect. Although there is a lot of drama, spritz and the theatrical, at the heart of things, Murphy wants to connect with the audience and get to their hearts. It is clear that she does this and, for that, we are all very thankful. I do feel that songs such as Incapable will sound great performed live – it might have already gotten an outing – and it will be cool seeing it paired with her Moloko work.

Let’s, before, I go on, add a third bullet-point to Róisín Murphy’s Law: we shall have f*ckinhg fun and everyone will join together. Maybe I should put these laws/rules in quotation marks (?) but I do think that, as a performer, Murphy places togetherness and interaction above all else. I have been following Murphy since the early days of Moloko and I have seen this artist grow and expand. I do wonder whether, with performers like her around, she will get that all-important headline slot. Think about all the great work Murphy has put out into the world and how great she is right now. I suspect there is an album coming along soon enough but there is ample material around to justify a Róisín Murphy headline slot. I have long-complained about the lack of women booked when it comes to headlining and, whilst I shall not repeat myself now, look at Murphy and what she has given the world. In a way, getting to a headline stage is like receiving an honour; an acknowledgment that you are at the top of your field. Although Róisín Murphy has yet to step onto the Pyramid Stage at Glastonbury in the prime slot, I do think that she has warranted that respect. Look at the songs she has under her belt and think about the electricity one gets from her shows. I am sure The Killers and The Cure will put on something pretty good at Glastonbury but I do wonder why she has not been asked to headline. Maybe it is just me getting all angry but I do worry we are ignoring great female artists in place of the same old, boring male acts. If you do get a chance to see Róisín Murphy play, make sure you do. I hold a lot of genuine affection for Murphy because she is one of the hardest-working and nicest people in music. Maybe it is her Irish roots but you get no bulls*it with her: just this open and bright woman who puts her heart on the page and gives the world this magnificent music.

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 PHOTO CREDIT: @Annadaki

I want to quote from an interview she recently gave with London in Stereo where (the interviewer) mentioned the financial struggle in the industry years ago; how that affected the likes of Murphy and how she has adapted:

“Of course, the industry has changed since that initial release 12 years ago. Reflecting on what happened in the following years after Overpowered’s release, Roisin touches on the financial crash of 2007 and how it had an impact on the industry, as well as herself. “EMI actually fell apart straight away after we put the record out, the whole thing ended,” she says. “Now everything has become compartmentalised. For an artist like me, there’s more options in terms of staying independent, and being able to just sort of do deals for specific projects in mind. I’ve done that for a little while and that’s been quite good in a way. Certainly creatively very good because whatever I want to do, I just go ahead and do it.”

This artistic freedom and sheer drive that Roisin exudes is something that’s helped her stay on top form throughout the years. “I don’t think there’s a secret to longevity, but I think my secret is just the people I work with, the fact that I can just change everything on every project by changing who I collaborate with.” She says, “The music is always the beginning of everything, while I’m a very visual artist and I make the videos and concept the art, deep, deep, deep, the music remains the very centre of it all. It’s the seed of everything.”

Driven by her love of music, and constantly evolving through her collaborations, Roisin is a force within the industry, but her adaptability, endurance and humility make her a true icon. As we wrap up, she says, “I love making the music, love the visuals and I love performing. I’m delighted to be able to do this job, I’m so blessed it’s stupid”.

 PHOTO CREDIT: Andy Parsons

Adding a penultimate addition to the Róisín Murphy Law and I want to include this: “The personality and spark is not fake: this is the real deal, you see?!”. That sounds like an odd sentence construct – and it might not be proper English – but there is an awful lot of bullsh*t and fakery in music. That might be axiomatic but we still get these fake artists who seem to be all talk and, look under the skin and you get someone very different. Not only is Murphy a consummate and stunning performer and songwriter but she is someone who dazzles and seduces in interviews. I have yet to meet Murphy – I really do need to get out there! – but she is someone who is frank and honest. Instead of practiced answers and this sense of caution, you get an open and engaging artist who gets under the skin. I will leave things there – because I want to review Incapable – but I do recommend that everyone gets behind Róisín Murphy and follows her music. She is a wonderful artist who keeps on surprising and producing music of the highest quality. I expect this to continue for a long time but, before then, she has put out a single that is very different to everything that has come before. Maybe that shouldn’t come as a shock when we look at Murphy’s past but, the more you listen, the more this wonderful number gets into the head. There is so much to love and cherish about Róisín Murphy and I do think that Incapable ranks alongside the best she has put out there. I am not sure what the exact inspiration behind the track is – whether it is culled from real-life experiences – but Incapable is a song that will strike a chord with many people out there. On a very wet and overcast day, it is that burst of energy and sunshine that we could all do with!

I am reviewing the edited version of Incapable – check out the eight-plus-minute version – because, the way I write, you would need a few days spare to get through it all! The opening notes of Incapable gives us this smooth and tense beat with a combination of Disco and Pop. The beat pushes the song forward and there is a catchiness that gets right into the head. It is hard to describe the sensation one gets from the introduction but, as you bed-in, the music makes its way through the veins. Murphy talks about the weather being a bit crap and one senses it is more a metaphor. Maybe things were sunny and hopeful but, in this moment, the conditions have changed and the atmosphere has grown a little cold. It seems like there was this chance for unity and passion but it has been lost. I do think there is this balance of strength and vulnerability in the song. We have someone who knows that love was very close – she talks about this inevitability and natural connection that has somehow been denied – but there is this incapacity. Murphy seems confident on the surface and can tolerate the storm but she does wonder why love misses her shore. I am not sure how the man was who is in her mind (and whether it is fictionalised) but one feels like they are meant to be together. Murphy’s vocals start breathy and slow as she is backed by handclaps and this propulsive groove. Soon enough – by the time the pre-chorus arrives – the energy kicks up and there is this sense of denial. She might never have had a heart broken and been lost because, in some ways, she has never given her heart fully. I don’t know. If she is not involved that deeply and in love then does that mean her heart is protected and she will never feel this pain? Murphy wants to connect and give her heart; get over this blasé sense of detachment and actually give her all.

Whereas a lot of artists would talk about personal limitations and deep questions with dour resignation and moody music, Murphy manages to elicit a genuine sense of hope. She does ponder some big questions – whether she is incapable of loving someone – but there is this need to find answers rather than wallow in a sense of defeat. Backed by the always-present and ready composition behind her (that seems to get more intoxicating and influential as time goes on), Murphy is looking inside herself and probing. I am not certain whether this time around there was a near-miss and a few nights of passion but, when it comes to transitioning from lust to a full-blown commitment, there is something holding her back. Maybe we have all been there but, rather than move on and chalk it down to one of these things, Murphy sees a pattern emerging. Is she someone who does not want to be too open with another and feels unworthy? Maybe. I do think there is this final straw where she does not want to make the same mistakes or, at the very least, discover direction and a reason behind her lack of commitment. One of the most interesting lyrical clashes is where Murphy says how she has never had a broken heart but, at same time, never been available and committed. Is the fear of getting her heart broken the real reason she does not want to dedicate herself to a deep relationship? One can feel real gravity and meaning in the words (even though, I believe, Murphy is in a committed and happy relationship right now); a need to stop this cycle that is bringing her down. Murphy has balanced a very hard-hitting and personal foreground with a background that keeps the mood buoyant but never cheapens the seriousness of the words. Look at the cover art of Incapable and, aside from some truly awesome hair, I get the impression of a heroine from the 1980s who has been on the town and looking for connection.

She has this confidence and sass but, when it comes to connection and longevity, she runs away. Maybe Murphy has been hurt by love before so feels that things will go sour if she gives her heart. I t is easy to be swept away by the giddiness of the beats and claps; the rush of the electronics and the way Murphy’s voice opens and flies. If you listen carefully, you can detect so many different emotions working away in the song. I have listened to Incapable several times through and pick up fresh things every time. On the surface, one might think it is simply about being scared to love but I think Murphy has something deeper working away. True, she is not giving her heart truly but I do think there are many reasons why commitment is so difficult. Maybe there has been this hurt before and men letting her down. I think she wants to have a sense of freedom that a relationship doesn’t offer and there is that need for a bit of control and separation. Perhaps being too open and deep is scary and getting too heavy with someone threatens a degree of stability. One has their theories and reasons but I do feel Incapable is a song that means different things to different people. Not only are the lyrics engaging and fascinating but you cannot help move to the alluring and wonderful composition. It is this wonderfully rich and motivating thing that gets the body moving and will put a smile on the lips. The version I have been reviewing (the edited, radio version) is great but one gets fresh experiences with the longer edition. In any case, Incapable is another solid-gold offering from the always-wonderful Róisín Murphy. I am always in awe of her music and do not feel there is anyone out there who can compete. We definitely need to see and hear more from her – I do wonder whether an album is not too far away. The weather might be bad today but one blast of Incapable eradicates the clouds and raises the temperature. I do hope Murphy has received the answers she needs and has managed to find some happiness and peace.

I am not sure whether Róisín Murphy is releasing another single soon but, as we can add a final line to Róisín Murphy’s Law – you never know what you are going to get – I do think there will be a lot bubbling up. Incapable is the sound of a woman who is hitting a new peak and exploring fresh directions. Keep your eyes on her social media pages because I am sure there will be some movement very soon. I do really love what she does (if I haven’t said that enough?!) and it is great to have her in music. I do know that Murphy is busy with gigs and promotion right now and I wonder whether, when all this cools down, we will get a record. My eagerness is a reaction to what is out in the industry at the moment and how there is a Róisín Murphy-shaped hole. She has this balance of sounds that nobody else can provide; a sense of bang and spark that cannot fail to impress and a charm that is all hers alone. Let us end this review because, one suspects, I have gone on for a bit long. I do hope that I have covered as much ground as possible and, if you are new to Róisín Murphy, then you have a bit more information. When you have done listening to Incapable (again and again), make sure you dig back through the archives and unearth as much of Murphy’s gold as you can. From the earliest seeds of Moloko through to the alluring magic of Incapable, it is clear there is nobody like Róisín Murphy around. So many people have thrown love her way over the past couple of weeks because of her new track and the magic summoned at Primavera Sound. I do feel that a Róisín Murphy headline slot at Glastonbury is overdue and, if there are plans for an album, it will definitely be hotly-anticipated. Long may her reign continue because, in a changing and tense world, Murphy does give us something special and cathartic. She is this artist that does not follow templates and lets her own voice sing loud. I do hope she will forgive me for short-changing her regarding Take Her Up to Monto but, when it comes to Incapable, I think I have redressed the balance. If you want to hold dear a songwriter who can lift the mood, make you think and get in the bones then look no further than the epic Róisín Murphy. She is a truly amazing artist and someone, I hope, who will be around for many more years to come. As I close this review, Incapable is still bouncing around my head and, in fact, there is a longer version available online that I recommend people listen to as well. I am off to spin Incapable one more time but, as today is pretty crap in terms of the weather, why don’t you do yourself a favour and play a song that is guaranteed to…

PUT you in a better mood.

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Follow Róisín Murphy

FEATURE: Spotlight: Jamila Woods

FEATURE:

 

 

Spotlight

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PHOTO CREDIT: Bradley Murray 

Jamila Woods

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I understand I have been a bit full-on regarding…

 PHOTO CREDIT: Reviler.org

feminism and gender equality over the past few weeks but, as you can appreciate, this is something that is dear to my heart – and something that I need to get off of chest. I feel like, before long, the industry will wake up when it comes to parity and recognising the great women out there! I shall put aside my arguments for now but, when thinking about the best female talent right now, one is spoiled for choice. I think 2019 is a huge year when it comes to eye-opening artists who are talking about something important. If you are unaware of Jamila Woods then you need to make sure she is part of your life. I must confess that I am relatively new to her music before, as soon as I heard it, I was hit. Her album, LEGACY! LEGACY!, came out earlier this year and blew critics away. In terms of compositions, the sound is a cross between Neo-Soul and R&B I guess. There are other tones in there but one gets a mix of the sensual, physical and spiritual – a potent combination that augments the power and depth of Woods’ words. I love her vocal style but, to me, it is her words and the passion she puts into the songs’ messages that hooks and amazes. Reviews for LEGACY! LEGACY! Were impassioned and, as Pitchfork explained, the songs themselves are fascinating, original and challenging:

“On “Basquiat,” Woods explores how the behavior of an artist of color unfairly becomes fodder for public opinion. She draws inspiration not just from her own run-ins with the media, but chiefly from an interviewer who once asked the renowned artist “what makes him angry,” suggesting that the “rage” seen in his work could be summoned upon command: “These teeth are not employed/You can’t police my joy.”

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IMAGE CREDIT: Getty Images/Jamila Woods

The song simmers along on a jazzy hip-hop groove for nearly seven minutes, peppered by a staccato call-and-response (“Are you mad?/Yes I’m mad”). Tellingly, the song never erupts, and when Woods sings “They wanna see me angry,” she’s sighing, not shouting. Her exhaustion is palpable, resigned to wear the mask that “grins and lies,” as poet Paul Laurence Dunbar once said—the mask that she must wear to quell the seething rage she feels when asked, once again, to explain herself.

In his landmark 1903 essay “The Talented Tenth,” W.E.B. DuBois argued that the liberation of all black people would come from cultivating a handful of exceptional blacks through higher education. Over a century later, black artists and activists, poets and politicians continue to thrive across a spectrum of different mediums. Almost every predecessor conjured in and in-between Woods’ lyrics balanced their craft alongside an unending fight for total equality, whether they wanted to or not: “All the women in me are tired” becomes a running motif throughout the album. With LEGACY! LEGACY!, Jamila Woods positions herself to join the battle, bridging the gap, once and for all, between our unresolved past and the promise that awaits us all on the horizon”.

That is just a sample review but, as you can see, Jamila Woods is providing the world with something hugely accomplished and necessary; music that transcends mere beats and hooks and confronts the listeners with real lessons. The album is never preachy but, instead, it is educational, inspiring and incredible immersive.

In regards to Woods herself, she is a twenty-nine-year-old from Chicago who is a graduate of St. Ignatius College Prep and Brown University. She is also the Associate Artistic Director of Young Chicago Authors and, through that, she aims to lift the youth voice through arts and education. Through YCA, she helps to organise Louder than a Bomb: the world’s largest youth poetry slam festival. She has this determination to make the world around her a better place and to improve lives; make aware the presence and important of black women and ancestor; the desire to promote self-love and acceptance. One could hear these seeds growing on her debut album, HEAVN. Released in 2016, it gained a lot of love and traction. This review from AllMusic shows that, right at the start of her career, Woods was raising the bar:

“On the title song, Woods floats over a rolling groove, quoting the Cure's "Just Like Heaven" and then twisting it a bit, beaming "I don't wanna run away with you/I wanna live our life right here." She later sings "I don't belong here" and "I'm an alien from inner space" in "Way Up," and dreams of leaving this planet in "Stellar," but Woods otherwise isn't one to promote escapism, not when she's sustained by friends, family, and fellow musicians -- including most of the above-mentioned -- who inspired and/or helped create this album.

Some moments regard an intimate relationship and independence, occasionally both at once, like when she affirms "Nobody completes me" in "Holy." A larger portion concerns communal matters like survival, resistance, sisterhood, and how to thrive in conditions designed to perpetuate oppression. The resolutely nurturing and buoyant qualities make it easy to miss out on some of the wisdom and stirring lines such as "Grandma loved granddaddy even after he forgot our names," related over Nico Segal's trumpet and the kaleidoscopic swirl of Stereolab's "The Flower Called Nowhere." Originally a digital-only release from Closed Sessions, HEAVN was expanded and reissued a year later by Jagjaguwar, made available on physical formats with a track list that added six interludes and a thick reprise of "Holy." The interludes, especially the one in which children recite an Assata Shakur quote -- inserted as a brilliant setup for "Blk Grl Soldier" -- are not extraneous”.

 IMAGE CREDIT: @jamilawoods

Right now, there is (rightfully) a lot of talk around Woods and what her music is doing. I think LEGACY! LEGACY! Is the best album of the year so far and, as I explained, manages to put something arresting and important on the page without making the listener feel exhausted or lectured. That might sound wrong but, by that, I mean the music easily sinks into the skin – because of the terrific melt of vocals and sounds – but you will come away with the lyrics ingrained in the mind. If one can feel soothed by the compositions but enlightened by the words, then that seems like a perfect combination. Woods has been busy promoting LEGACY! LEGACY! and, in this interview with The Guardian, Woods talked about her upbringing and the importance of ‘legacy’:

“Woods grew up in the quiet Chicago neighbourhood of Beverly Hills, an idyllic enclave in a city wracked with inequality. Her dad, a physician, and her mother, a spiritual healer, instilled in her the idea of working for the community; following private schooling and a degree from Brown University, Woods became associate artistic director of Young Chicago Authors, empowering kids to create their own narratives through hip-hop and poetry. She compares poetry to hip-hop’s tradition of sampling from across black musical history. “There’s a similar respect for lineage – you can say you’ve written a poem ‘after Maya Angelou’,” she says.

Woods describes a mentoring session where she had students draw lineage maps, using the people in their lives who had inspired them to find their own artistic voice. “It’s important for me to shout out those that came before, especially in a time where it’s about being individualistic or the first. That should be seen as a strength, because that’s what legacy is.”

So what is Woods aiming to achieve with her championing of legacy? She wants to break the cycle of silence in families, particularly between grandmothers, mothers and daughters. “When I got to a certain age, conversations with my mom and grandmother changed and there was more honesty. That’s part of breaking the cycle because if I hadn’t have known what they’d experienced with men in their relationships, I wouldn’t be able to recognise that there’s a legacy in those stories. It can’t be an individual decision – there has to be a culture shift and a communal conversation”.

Artists like Jamila Woods are filling gaps that should be occupied by political leaders: talking about what really matters and putting the people first. She has a deep connection to her ancestry but is acutely aware of the future and what will happen if changes are not made. This is not to suggest, for a moment, Woods is a political artist: in fact, her words are delivered in such a manner that she projects that right balance of urgency and delicacy. In many ways, Woods sings sermons; never too forceful but, inside it all, you can hear the passion bubble and fizz.

Woods is busy promoting LEGACY! LEGACY! and there is a lot of demand for her right now. In this interview she gave with London in Stereo very recently, she talked about her music and the intent behind it:

 “Each song on LEGACY! LEGACY! takes its name from pertinent, inspirational artists and activists within black history, including James Baldwin, Eartha Kitt, and Basquiat, to mention a few. With these tracks, Woods offers poetic, meditative testaments to the influence these figures have had on her, whilst weaving her own personal narratives into this. “The tracks are named after people but are very much autobiographical songs,” Woods emphasises. “I’m singing about my own experiences almost like self-portraits, through the lenses of the different people and what I’ve learnt from them.” Woods’ lyrics are poetic works in themselves, crafted with astute linguistic potency and precision. Melded with the glistening, soulful melodies that saunter through the record, this verbal and aural harmony is steeped in vivid, emotive poeticism

While the issues and ideas that Woods explores on this record feel vital and pertinent in the context of the current political climate, she states “I don’t really resonate with the idea that something is important now more than ever. It’s more just like I wanna feel free to follow where my inspirations lead me”.

Wood is performing in the U.S. at the moment but she heads to the U.K. later in the year. Take a look out and make sure, if you can, you go and see Woods live. She is a sensational talent who fuses Soul and Neo-Soul together with these inspiring songs; a voice that gets into the heart and a spirit that cannot help but intoxicate. Woods is definitely capturing a desire and wave right now and, if you get the time, settle down with LEGACY! LEGACY! and experience an artist who is…

PHOTO CREDIT: Getty Images

OUT of this world.

INTERVIEW: I SEE RIVERS

INTERVIEW:

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PHOTO CREDIT: Jodie Canwell  

I SEE RIVERS

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THE fantastic I SEE RIVERS...

have been discussing their latest track, Helios, and how it came together; whether there is going to be more material arriving and whether they share musical tastes – they recommend a rising act we need to have a look out for.

I wanted to know if there were any gigs approaching and which artist they would support on the road if they could; how they unwind away from music and how their own sound has evolved through the years – I SEE RIVERS select a few great tracks to end the interview with.

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

ISR: Hello! We’re good, thank you! Our week has been very exciting, with the release of the first track from our upcoming album (Helios) - and the amount of lovely feedback has been a bit overwhelming…really!

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

We are Eline (keys, vocals); Gøril (guitar, percussion and vocals) and Lill (percussion, vocals) and, together, we’re I SEE RIVERS. We’ve dubbed our music ‘Float-Pop’, as it floats and meanders between bouncy Pop, jangly Indie and airy Folk.

Helios is your new track. What is the story behind it?

Helios is the Greek god of the sun and, according to the legend, he would appear in the sky each dawn, bringing the day as he rode his golden chariot across the clouds. In the context of this song Helios, or the sun, is meant to represent a person that you think the world of, someone that you see through rose-tinted glasses before coming to terms with the illusion and the cathartic feeling that follows that realisation.

I understand there is an album coming next year. Can you reveal anything regarding the songs and themes that will be addressed?

We are actually still writing for the album as we speak, so it’s a bit difficult to illuminate what the album will be about as a whole right now. What we do know is that, sonically-speaking, it will be a different vibe than our previous E.P.s – we strive to evolve and push ourselves as songwriters and musicians, but we also believe that the purpose of any recording isn’t ‘perfection’ or anything like that, but rather to capture where we are as humans and musicians at that particular moment.

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PHOTO CREDIT: Jodie Canwell

How did I SEE RIVERS get together?

Even though we’re all from Norway (although from opposite sides), we didn’t meet until five years ago, when we all went to Liverpool to study. We quickly became good friends and formed the band halfway through our first year at uni.

It is hard to detect clear influences in your own music. What sort of music do you all like listening to? What music were you raised on?

We come from quite different musical backgrounds and our influences vary between the three of us but, collectively, we have a huge love for Sufjan Stevens, Frank Ocean and Fleet Foxes.

How do you think your sound has changed and evolved since the start?

When we first started out, our songs were very heavily based around an acoustic guitar and our vocal harmonies. But, since our first recording session with Owain Jenkins in StudiOwz back in 2016 - where we started to experiment with different sounds and instrumentation -, it has gradually progressed and evolved. It’s hard to say what exactly it has evolved into, but we’ve moved further away from the acoustic, folky sound as we find it exciting to be more bold and busy.

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PHOTO CREDIT: Sian Adler/Horizons / Gorwelion

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

Because we’re very close friends and equally invested in the band, everything we experience together just get more exciting and fun as we get to share it with each other. We’ve been super-lucky as to experience a lot of ridiculously cool things together; but one of the most surreal things that’s stuck with us was when we played Belladrum Festival in Inverness three years ago. We’d hardly played in Scotland before, and didn’t expect many people to show up to see our set, but fifteen minutes before we even went on stage the entire tent was completely packed – by the end of our set thousands of people had showed up and we didn’t really know how that happened.

Absolutely ridiculous.

Which albums from all of music mean the most to the band (and why)?

As I said previously, our taste in music varies a lot between us. However, the album we’ve definitely played the most in our car on our way to gigs is Frank Ocean’s Channel Orange.

PHOTO CREDIT: Ollie Couling

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

SUFJAN STEVENS.

What advice would you give to new artists coming through?

I think every artist’s story and experience is different; but for us it was crucial to get out and play outside of the city limits. In addition to this, I think collaboration with other people is both SUPER-FUN and key to keeping things exciting and new.

PHOTO CREDIT: Jodie Canwell

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

We have put aside quite a bit of time this summer to write for our upcoming album, but we do have a few lovely gigs this month that we’re looking forward to:

14.06: OSLO, Kulturhuset (Norway)

15.06: BERGEN, Bergenfest (Norway)

21.06: SOLVA, Unearthed in a Field Festival

28.06: CARDIFF, Clwb Ifor Bach

What is a typical gig like for you guys? What might we expect if we come and see you perform?

We love playing live and as our sound is constantly evolving; so is our live set. At the moment, we all wish we had at least one more hand to use live as we’re trying to stay as busy as possible on stage with the new instrumentation. In addition to seeing us trying to imitate octopuses, I think you can expect a high-energy performance with a lot of bouncing and laughter.

 PHOTO CREDIT: Konradsen

Are there any new artists you recommend we check out?

At the moment, we’re all obsessing over Norwegian duo, Konradsen.

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

We knit! We mostly knit hats to sell as merch after our live shows, but it still definitely counts as relaxing.

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

Lill: Running - Helado Negro

Gøril: Hundre runda rundt sola samles i ett sekund – Kråkesølv

Eline: Habit - Still Woozy

Thank you! – Eline, Gøril and Lill, I SEE RIVERS

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Follow I SEE RIVERS

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FEATURE: Step Back in Time: Kylie Minogue’s Five Finest Albums

FEATURE:

 

 

Step Back in Time

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IMAGE CREDIT: Kylie Minogue 

Kylie Minogue’s Five Finest Albums

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AS the legendary Kylie Minogue…

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 PHOTO CREDIT: Kylie Minogue 

readies herself for a slot on the appropriately-named ‘legends’ stage at Glastonbury this year, it has got me thinking about her impressive back catalogue and the fact that, with each album, there is evolution. Minogue releases her definitive collection, Step Back in Time, on 28th June and it will give fans existing and new the chance to revel in the multiple sides of the Melbourne-born icon. This year is a big one for her because, not only does Minogue have that Glastonbury slot and is releasing her greatest hits; there will be many wondering what comes next; how she will follow 2018’s Country-tinged album, Golden. I think, as she is in her sixth decade of life, we will actually see more of a return to her Pop roots rather than a repeat of what she gave us last year. In any case, there are a lot of people excited by what is coming. Even though her definitive collection spans her entire career, if you want to narrow down to the finest Kylie Minogue albums, I have been investigating further. Here, in my view, are the five Kylie Minogue album every fan needs…

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 PHOTO CREDIT: Audoin Desforges

IN their collections…

ALBUM COVERS: Getty Images/Kylie Minogue

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Rhythm of Love

Release Date: 12th November, 1990

Labels: Mushroom/PWL

Producers: Stock, Aitken, Waterman/Keith Cohen/Stephen Bray/Michael Jay/Rick James

Standout Cuts: Better the Devil You Know/What Do I Have to Do/Shocked

Key Cut: Step Back in Time

Review:

“Yes, it's still simple Stock-Aitken-Waterman dance-pop, but Rhythm of Love is leaps and bounds more mature than Kylie's first two releases. The songwriting is stronger, the production dynamic, and Kylie seems more confident vocally. And while Kylie and Enjoy Yourself were collections of songs to back up singles, this is a more complete album, with many of the tracks -- "Things Can Only Get Better" a prime example -- single worthy. Definitely her best work from the Stock-Aitken-Waterman era” - AllMusic

Kylie Minogue

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Release Date: 19th September, 1994

Labels: Mushroom/Destruction

Producers: Steve Anderson/Dave Seaman/M People/Pete Heller/Terry Farley/Jimmy Harry

Standout Cuts: Surrender/Pure Yourself in My Place/Falling

Key Cut: Confide in Me

Review:

“Meant as a statement of her new direction, Kylie Minogue's fifth album no longer featured the Stock-Aitken-Waterman production gloss and found the diminutive singer working with hip dance producers like David Seaman. From the first notes of the opener "Confide in Me," you know this is not the teen pop queen of old. Kylie Minogue (also note the use of her last name on the cover) wanted to sound grown up, and she pulls it off with ease. While it is still dance-pop, there's atmosphere and style in the songs that wasn't there on Let's Get to It. Definitely the start of the second phase of her career” – AllMusic

Impossible Princess

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Release Date: 22nd October, 1997

Labels: Mushroom/Destruction/BMG

Producers: Kylie Minogue (uncredited)/Dave BallJames/Dean Bradfield/Brothers in Rhythm/Jay Burnett/Rob Dougan/Dave Eringa/Ingo Vauk

Standout Cuts: Cowboy Style/Some Kind of Bliss/Did It Again

Key Cut: Breathe

Review:

“Impossible Princess runs the gamut of styles, but manages to remain cohesive and fresh, even six years later. The sleek trip-hop of “Jump” and the deliriously spacey “Say Hey” fit like puzzle pieces next to the Chemical Brothers-style techno/rock hybrid “Limbo” and the frenetic “I Don’t Need Anyone.” Minogue fiercely declares her independence, but admits to her innate vulnerability: “I don’t need anyone/Except for someone I’ve not found.” Co-produced by former Soft Cell synth-master Dave Ball, “Through the Years” evokes Björk’s “Venus As a Boy,” but creates its own smoky atmosphere with muted horns, experimental vocal tracks and elegiac lyrics: “Too many a twisted word was said/My body was porous/I savored every drop of you” – SLANT

Light Years

Release Date: 25th September, 2000

Label: Parlophone

Producers: Steve Anderson/Guy Chambers/Johnny Douglas/Julian Gallagher/Mark Picchiotti/Steve Power/Mike Spencer/Graham Stack/Richard Stannard/Mark Taylor

Standout Cuts: On a Night Like This/Your Disco Needs You/Kids (with Robbie Williams)

Key Cut: Spinning Around

Review:

“On a Night Like This and So Now Goodbye keep up the tempo and disco antics - you can feel the heat from the swirling multi-coloured lights as you listen to them - adding empowering notions of grabbing the best looking man in the club, then ditching him when you feel like it. But Minogue knows better than to think she can do it all alone. It was the less than subtle tweakings of Stock-Aitken- Waterman that gave her success and now she has turned to some more male musical heavyweights to get her back on track. Spice Girls collaborator Richard Stannard adds some polish to the flamenco flavoured Please Stay, while the songs co-written by Robbie Williams and Guy Chambers give Minogue the best lines.

There's the fantastic Kids, a duet with Williams also featured on his new album, and Loveboat, a homage to the 1970s TV show of the same name. The latter is a female response to Williams's Millennium - it sounds very similar but has a less cynical approach to love. The familiar references to martinis, bikinis and 007 are all there - Williams really should try joining a new video club - but so too are the verbal come-ons that'll either make you squirm or laugh out loud. "Rub on some lotion," Minogue pleads breathily, "the places I can't reach." More amusing still is Your Disco Needs You, a call to arms that the Village People would be proud of. Minogue has her tongue firmly in her cheek for this camp slice of epic disco that will doubtless become the obligatory soundtrack to every Christmas office party.

It's only when Minogue deviates from the fun that the album falters. Bittersweet Goodbye is an overblown ode to love that seems like an excuse for a video featuring satin sheets, while the title track is suitably spacey, though it still left me singing Brotherhood of Man's Angelo at the end. Ultimately, Minogue shines brightest in the blinding lights of a club and Light Years is an album that should be played as you force your boob-tube into place and drain the remnants of that can of hairspray before you go out. This time round Kylie's got it right” – The Guardian

Fever

Release Date: 1st October, 2001  

Label: Parlophone

Producers: Steve Anderson/Rob Davis/Cathy Dennis/Greg Fitzgerald/Pascal Gabriel/Julian Gallagher/Tom Nichols/Mark Picchiotti/Richard Stannard/Paul Statham/TommyD

Standout Cuts: Love at First Sight/Come Into My World/In Your Eyes

Key Cut: Can’t Get You Out of My Head

Review:

“By 1997, she moved on to working with writers outside the genre. While this may have translated into poor record sales, her motives were in the right place. With 2001's Fever, Minogue combines the disco-diva comeback of the previous year's Light Years with the trend of simple dance rhythms which was prevalent in the teen dance-pop craze of the years surrounding the album's release. While on the surface that might seem like an old dog trying to learn new tricks, Minogue pulls it off with surprising ease. The first single, "Cant Get You Out of My Head," is a sparse, mid-tempo dance number that pulses and grooves like no other she's recorded, and nothing on Light Years was as funky as the pure disco closer of "Burning Up."

And while it's hard not to notice her tipping her hat to the teen pop sound (in fact, on this record she works with Cathy Dennis, former dance-pop star and writer/producer for Brit-teen pop group S Club 7) on songs like "Give It to Me" and "Love at First Sight," her maturity helps transcend this limiting tag, making this a very stylish Euro-flavored dance-pop record that will appeal to all ages. Not one weak track, not one misplaced syrupy ballad to ruin the groove. The winning streak continues. (The U.S. version, released in early March of 2002, included the hidden tracks "Boy" and "Butterfly" -- a B-side and Light Years album track, respectively)” – AllMusic

FEATURE: Retuning the Bandwidth: Are Radio Playlists Varied and Balanced in Terms of Genre and Gender?

FEATURE:

 

 

Retuning the Bandwidth

PHOTO CREDIT: iStock 

Are Radio Playlists Varied and Balanced in Terms of Genre and Gender?

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I have been thinking about radio…

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 PHOTO CREDIT: @joaosilas/Unsplash

a lot recently because I think, more and more, it is a hugely influential medium. Not only does radio provide a platform for rising artists and big names but it gives guidance to festivals when it comes to booking acts. Look back at your childhood and I think we can all agree radio was hugely powerful and exciting back then – whether it was listening to the charts or discovering a great new artist. I grew up listening to the charts and what was buzzing in the 1990s and have been a fan of radio ever since. One’s own tastes and habits might be a bit restrictive but, with radio, you get this spread and sense of diversity! That means we are all more open and educated regarding music; not sticking with the same thing and able to experience a lot more. There are stations I tune into all of the time but, more and more, I wonder whether radio playlists are as eclectic and bold as they should be. I keep mentioning (my favourite station) BBC Radio 6 Music because it is awash with great music and options. I have been listening hard lately and found that, like a lot of stations, there is that chance to go further. They are beholden – like most commercial options – to regular playlists which means, invariably, one will hear the same song repeated frequently through the day; this can often go on for weeks before a new playlist is introduced. That is fine if the song being rinsed is wonderful but, if not, that can start to grate…

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 PHOTO CREDIT: @alicemoore/Unsplash

I will not name any songs - but you do start to hear the same things repeated and, yeah, it gets a bit annoying. I know why this is done: to make sure as many people hear that song; not everyone listens daily so it makes sense to repeat the songs quite a bit. Because the market is less singles-orientated and, I feel, the album needs more exposure, I wonder whether that radio strategy is wise. It is nice hearing the new releases played but I wonder, rather than a static, one-month playlist that plays these same numbers over and over, why not refresh it every week? I find that, too, stations tend to focus on the bigger artists. I know there are remits and guidelines but it would add more range and variation to playlists if rising artists were included. Getting back to that single vs. album argument, and you often get artists who have new album out and the same single from that album is featured in the playlist – why not include other tracks from the album? I do understand that there is a lot more to playlists than personal tastes and random pickings: there is a lot of maths, science and statistics included in the process. Not only are rigid playlists a bit of a downside regarding radio but, look at the big stations and the music they play, and can one say that the gender balance is right?!

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 PHOTO CREDIT: @vidarnm/Unsplash

There are some D.J.s that are keen to include as many women into the mix as possible but I feel there is this general ignorance. So many D.J.s play men back-to-back and throw the odd woman in there. It means that, across the broad, you get this male-heavy playlist. I can understand how hard it is to have a fifty-fifty split across the board but, look at new and older music, and you are spoiled for choice! I do worry producers and bosses are not making enough effort to ensure the gender breakdown of their playlists and schedules are even. I guess it is okay for shows to tip a bit in favour of the men but, on some shows, there is a huge gulf in terms of men and women. Not only does that create a homogenised and rather limited sound but it sends a bad message to female musicians who are trying to get their music heard – stations favouring men more might lead them to believe they do not stand a chance. I think it is important to be conscious of sexism issues in music and relate that to festivals. Festivals do take a lot of inspiration from radio stations regarding their bookings and, whilst one cannot blame stations for the gender disparity at festivals, I think a more gender-balanced outlook would help festivals achieve greater parity. Maybe these are small grumblings but it is not hard to retune the playlists and make them more exciting, varied and gender-balanced.

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 PHOTO CREDIT: iStock

Not only do I feel there are limitations regarding gender and new tracks but I also think stations are not that bold regarding certain artists. It is great hearing the same big songs played by those familiar artists but it can be a bit samey. Think about legendary bands like The Beatles and, when it comes to their music being played, can one say stations are digging through the archives hard enough? Quite often, I hear the same six or seven Beatles songs played; some albums/songs rarely get an outing and it makes me a bit miffed. Familiarity is great but, when you open things up and play one of those lesser-heard songs, it is really exciting. David Bowie, Joni Mitchell; Pink Floyd and The Cure – do we tend to rely on the same songs from these artists when, it reality, there is a huge number of golden slices to select?! It is funny because, on some radio stations, they announce which band/artist is coming up and you can almost guess what song it is going to be before they play it! I think, if we want to inspire listeners and make them more aware about great artists’ full range, stations need to make more of an effort to be a bit more eclectic regarding song selections. This sense of boldness should also apply to the balance of mainstream/established artists and rising acts.

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

It is impossible to please everyone but I do feel like, with certain artists repeated and there being this rather samey outlook on some stations, there is a whole layer of music ignored. So many great approaching artists do not get played; some iconic acts miss out and, in terms of genre, stations are missing a tricky. I do realise stations have their demographics and guidelines but that does not mean they are as honed as their playlists suggests. So many stations are restricted when it comes to the length of a song, too. Some of the cooler brands take risks but there is still that rule regarding playing long songs: ensure most of the tracks run around three or four minutes. We are told that is the ideal length for a Pop classic and instant hit: this does mean that so many artists and genres are not getting the exposure they deserve. I do wonder whether stations are at the mercy of strict guidelines and old conventions. The music landscape has changed a lot and, whilst some radio stations are keeping their finger on the pulse, others seem to be languishing behind. Music tastes and demands are, I guess, subjective – so everyone will have their own ideals of what makes great radio and whether there needs to be improvement. I do think that there needs to be more done to tip the gender imbalance and, regarding fresh artists, maybe a bit more room in the schedules.

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 PHOTO CREDIT: @schneidermann/Unsplash

It is hard to tick all the boxes and make sure everyone is represented. I used to see a lot of the classic albums getting a nod from stations. Again, one cannot include every big anniversary that comes along but I think it is important to celebrate these records to younger listeners and give them their due. I miss the classic album series that used to be on T.V. and, as many titanic albums get a mere nod from stations, could more time be set aside to give these iconic albums a proper celebration? I love radio right now so, regarding these critiques and recommendations, they are very small and not meant to give a false view. I think British radio is doing a great job regarding getting on top of it all; the great new music around and making sure the classics are not ignored. To me, a simple bit of expansion and malleability would give the gold an extra gleam. From ensuring there are more female artists on the playlist to being a bit more adventurous regarding the best-known acts; maybe thinking about the monthly playlists and their impact. I am not expert but, as a listener, I have heard from quite a few other people who share the same concerns. Radio is the most powerful tool in music regarding getting the word out about new songs; making sure we experience as much different music as possible. It is brilliant and I tip my hat to the D.J.s, producers and stations around the country. Maybe, with a few subtle tweaks and adjustments, British radio could become…

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 PHOTO CREDIT: iStock

SIMPLY unbeatable.

FEATURE: Spotlight: Amyl and The Sniffers

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Amyl and The Sniffers 

Amyl and The Sniffers

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IT is not like Amyl and The Sniffers…

 IMAGE CREDIT: Amyl and The Sniffers

are new to the world but, for us in the U.K., maybe the Melbourne band are fairly fresh. The band released their eponymous album very recently and, whereas I shall come to that, they have been putting out music for several years now. This year has been a busy one for the gang and, with an album out, there are gigs demands and rounds of publicity. Before I come to any of that, here is a bit of biography about Amyl and The Sniffers which tracks from the start to 2017:

“Amyl and the Sniffers are a punk band possessed by the spirit of seventies Australian rock. Amy Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of twelve hours.

Completing their line up with Gus Romer on bass, the band take their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos, Dolly Parton and Die Antwoord, setting out to have as much fun as possible.

Their 2nd EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival lineups including Meredith and CherryRock17. The band and were invited to join the Cosmic Psychos on their forthcoming November/December tour and capped off the year with a sellout NYE show at the legendary Tote in their home town of Melbourne”.

From the opening track of their eponymous album, Starfire 500, the band set fire to the speakers and create this special world. That song and the closer, Some Mutts (Can’t Be Muzzled) are the longest on the record – most of the songs are tighter and deliver that swift, quick kick. I must admit that I am not new to the band but, with their album out, I have been making up for lost time and experiencing their unique cocktail. I know there are a few Pop/Post-Punk bands with a female voice at the front but, to me, Amyl and The Sniffers are in a really strong position. Amy Taylor is able to convey so many emotions and colours. Listen to the Amyl and The Sniffers album and every song is vividly brought to life by Taylor’s relentless energy. I would not be surprised if the Australian band’s album cracked a lot of critics’ top-ten lists come the end of this year. The reviews for the record have been largely positive. NME were full of praise:

 “Loud and aggressive, for sure, but it’s singer Amy Taylor’s insightful yet chant-worthy lyrics that make this more than just a ear-bleeding exercising. ‘Angel’ is a sweet love song caught up in a whirlwind of sound (“I’m shaking, I can’t take it, bent over back all day waiting for you”), while ‘Some Mutts (Can’t Be Muzzled)’ is defiant and empowering, while retaining the stickiness of the rough carpets of the pubs they frequent.

It’s “pub-punk” for now, but there’s a good chance it’ll take them to much bigger stages sooner rather than later. It’s not big, it’s not clever, but it’s a bloody hoot”.

Pitchfork had a slightly different slant when they approached Amyl and The Sniffers’ album:

“By the very virtue of being released on a major label, Amyl and the Sniffers reverses that equation. While the group still tends to run lean—most of the album’s 11 songs clock in well under three minutes, with the whole thing rushing by in half an hour—all of the songs feel formed. Give some of the credit to producer Ross Orton. A veteran of the Sheffield scene—he played drums in Add N to (X) and floated through Pulp’s circles on his way to working on M.I.A.s’ Arular, gaining a noteworthy credit by producing Arctic Monkeys’ 2013 LP AM—Orton gives the band a beefier, bolder sound. This increased heft accentuates how Amyl and the Sniffers can sound like heirs to the sharpie rockers of Australia, a dirty underground movement of the ’70s that traded upon glam and nascent heavy metal—a sound that eventually wormed its way into the gnarly riffs of AC/DC and Rose Tattoo”.

Reviewers around the world have been bigging-up the Melbourne band since last year – in fact, the buzz has been building before then. The band are on fire right now and there has been a lot of anticipation surrounding their long-awaited album. The interviews have been thick and fast but, looking back last year, DIY caught up with the band as they set about recording their debut.

 PHOTO CREDIT: Jenn Five for DIY

The band tried to define their sound and explained how their unique flavours were compelled by myriad sounds and decades:

“The point, says Amy, was to have something to bring to the table at the “house parties and shed shows” that the friends all used to frequent – raucous, DIY gigs with bands called things like Drunk Mums and Dumb Cunts all getting sweaty in pleasingly shitty small rooms. From that first EP (entitled ‘Giddy Up’) of scratchy, short’n’sharp garage rock – its four songs clocking in at just seven minutes in total – the band got their first gig. “There weren’t many people there and we fucked up heaps, but it was so fun and the best thing ever,” the singer enthuses. “We covered four songs because we had no songs to play and then the bartender [took the piss] because we only played for 15 minutes. But it’s nice when you start something new and you haven’t figured it out yet; the exciting part is learning and working out what you’re doing.”

Influenced by the garage rock scene they grew up around, as well as “bad Aussie rock’n’roll from the ’70s and ’80s: the classic Top 100 hits that your parents would listen to,” theirs are tracks that channel a different kind of punk to the influences touted around from their US and UK counterparts. Filled with a funny, unaffected bogan brattiness, Amyl might claim to sing about “everyday experiences”, but they do it in a way that seems more feckless and uninhibited than most. Take ‘I’m Not A Loser’’s claim of “My friends may think that I’m a cunt / But I pay the rent on time every month” by way of example. Led Zeppelin, it is not”.

 PHOTO CREDIT: Andy Ford for NME

There is a lot to love about the band. They are very honest and open and, when it comes to their conversation, they are often frank, funny and filthy! There is no ego where Amyl and The Sniffer are concerned – sometimes the bawdiness and crass edge can get a bit wary. The music is the thing that matters most and, when you immerse yourself in their magical blends, you are captivated and seduced. The band spoke with Gigwise earlier in the year and stated how, although they love recording, they are much more of a live band; one that has the world at their feet right now:

“Singer Amy Taylor, a diminutive presence in her own right, is quick to reaffirm this. “We’re definitely more of a live band. Even our first recordings. We only put them out because we wanted to get booked so bookers knew what we sounded like and bands too so we could play with them. It’s the best feeling ever! Even if there were only ten people watching us every night I’d still feel the same way.”

Now firmly at the forefront of Rough Trade’s glowing roster. Not only for 2019 but also well into the future. While signing to such a prestigious label would be a daunting prospect to some, Amyl and the Sniffers appear to have taken it all in their stride.

“There were a fair few labels talking to us at the time,” admits Romer. “Geoff (Travis) heard about us after The Great Escape then he saw us in Hamburg along with Jeannette (Lee) from the label. After that, Rough Trade was the only place we wanted to be. They’ve done some incredible releases and have an amazing history. They take super good care of us and everyone is lovely. It’s awesome.”

“We love working them now. We’ve become part of the family,” adds Taylor. “It’s a really strange thing for me. Coming from Australia, I didn’t know that much about overseas record labels so it was really exotic and foreign coming to meet them but I’m so glad we went with them because that’s what it’s like; being part of a family. They come to our gigs and we just hang out”.

The band are all over the place right now and keen to share their stories with the media. You need to keep an eye on their social media channels because, with some hot material in the world, the band is hot on the live circuit. You can buy gig tickets and discover where the band is heading next. Before wrapping things up, I want to bring in an interview the band gave with NME and, during the chat, they talk about their start and how they decided to get a band together:

“The group grew up all over Australia – Amy and Bryce are from tourist town Byron Bay, while Gus came from Tasmania and Declan from Perth. Bryce and Declan had been in bands before, and Gus would join the band a bit further down the line, but this was Amy’s first foray into music. The band met at a pub/venue called the Grace Darling in Melbourne’s Collingwood district. There was no fabled “moment” they say – Declan just recognised Bryce from a recent club night and introduced himself. A connection was made, and soon after, Declan had moved in with Amy and Bryce. No-nonsense, then.

PHOTO CREDIT: WDZIEKONSKI

The idea for the band came up at some “wasted kick-ons,” Declan says. Kick-ons means after parties, apparently. “We only made the first EP so we could get gigs” Amy says. The result, ‘Giddy Up’, was recorded in their shared house in 12 hours and runs for a grand total of five minutes. “The bookers never said we needed 15 minutes worth of music until we got off stage after eight,” Amy laughs. Following their instincts and making the EP as quickly as they could was the key to its magic. “The more you think about something, the less you know,” Amy says, gnomically”.

Make sure you get involved with Amyl and The Sniffers’ music and follow them on the road if you can. It is still early days for them but, from their previous songs and their new album, you can tell they have matured and are coming on leaps – even if they have kept the spit and attitude key to the core of their music. They are an exciting new band and I would not be shocked to see them appearing at big festivals in the U.K. next year. Right now, they have the world to tour and they are getting their debut record to the adoring masses. I am excited to see where Amyl and The Sniffers will head next and just how far they can go. Even though I am new to their music, I am making up for it and diving into their warm waters. The Australian band is in rude and brilliant health and it seems like they are not going…

AWAY anytime soon.

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Follow Amy and The Sniffers:

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FEATURE: Hymns from the Love Ghetto: Neneh Cherry’s Raw Like Sushi at Thirty

FEATURE:

 

 

Hymns from the Love Ghetto

ALBUM COVER PHOTO: Jean-Baptiste Mondino  

Neneh Cherry’s Raw Like Sushi at Thirty

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NOT that I am representing every major album…

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 IN THIS PHOTO: Neneh Cherry circa 1989/PHOTO CREDIT: Steve Eichner/WireImage/Getty

that is celebrating in a feature but, as Wednesday marks thirty years since Neneh Cherry’s debut album, Raw Like Sushi, was released, I only felt it right to mark that! I was originally going to put it in my Vinyl Corner feature but, having looked online, I cannot find a good copy! I am not sure whether Cherry is going to put Raw Like Sushi on vinyl but it seems like an album that would sound perfect coming from a record player! I remember the album coming out on 5th June, 1989 and, whilst my memory as a six-year-old is spotty, it is a record that sounded pretty different to everything else that was out at the time. I have put Raw Like Sushi under the spotlight before but, now that it is thirty, I felt it warranted another spin. I will come to the modern output of Neneh Cherry in the final parts but, to start, it is worth looking at Raw Like Sushi and its impact in 1989. Whilst a few producers and musicians helped make Neneh Cherry’s debut a success – including her husband, Cameron McVey -, it is Cherry’s unique and incredible talent that shines from every note. In a year where some stunning Pop and Hip-Hop was thrilling people, there was some wonderful R&B working in the mix. It is amazing to think of all the epic albums that arrived in 1989 and how, in its way, Raw Like Sushi slipped right in.

Whereas Cherry was tackling big subjects like the inner-city and men who need to do some growing up, there was an accessibility and common touch that meant the songs connected with fans and critics alike. One reason why Raw Like Sushi impacted in 1989 and sounds fresh now is because of all the sound pollination and how genres are spliced together. Cherry brings together brass, guitars and myriad sounds to create this wonderful spritz and explosion. Cherry, even that young, was talking about her experiences of motherhood and her own upbringing. Not many artists have that sort of experience and background – giving Neneh Cherry more clout and depth when it came to her songs. It is clear that, whereas her contemporaries such as Madonna (her debut arrived in 1983) went in quite commercial and safe, Cherry was pushing boundaries and digging deep right off the bat. I guess there was something about the late-1980s that inspired artists to be bold and challenging. I mentioned how Hip-Hop was reaching heights in terms of scope; sampling was common and the lyrics being addressed by artists were a lot more eye-opening than what was happening in Pop. Cherry, whereas she might have been marketed more in a Pop vein, had more in common with the Alternative bands and Hip-Hop artists that ruled 1989. I have talked a lot about the album’s themes and strengths and, at the time, Raw Like Sushi resonated.

Critics in 1989 saw this bold and brilliant artist come through whose music was dizzying and electric. Contemporary reviews are ecstatic and it seems that, almost thirty years after its release, Raw Like Sushi is gold. AllMusic, in this review, had their opinions:

 “Those arguing that the most individualistic R&B and dance music of the late '80s and early to mid-'90s came out of Britain could point to Neneh Cherry's unconventional Raw Like Sushi as a shining example. An unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music, Sushi enjoyed little exposure on America's conservative urban contemporary radio formats, but was a definite underground hit. Full of personality, the singer/rapper is as thought-provoking as she is witty and humorous when addressing relationships and taking aim at less-than-kosher behavior of males and females alike. Macho homeboys and Casanovas take a pounding on "So Here I Come" and the hit "Buffalo Stance," while women who are shallow, cold-hearted, or materialistic get lambasted on "Phoney Ladies," "Heart," and "Inna City Mamma." Cherry's idealism comes through loud and clear on "The Next Generation," a plea to take responsibility for one's sexual actions and give children the respect and attention they deserve”.

Pitchfork approached Raw Like Sushi from a slightly different perspective in their review:

 “Manchild,” the second track on the album, is probably the best example of Raw Like Sushi’s widescreen view; it reunites Cherry with Wild Bunch member Robert “3D” Del Naja, who by then had formed trip-hop collective Massive Attack. Anyone expecting something like “Buffalo Stance II” to be Sushi’s second single was probably surprised. Its shape-shifting, woozy synths, which floated in and out of keys, led and were led by Cherry’s soulful yet pointed vocal. She’s acting as the prodding yet sympathetic sage to a flailing other, rapping about “R-E-S-P-E and C-T” while chords quiver and hover.

Audacity was what made Raw Like Sushi such a thrilling album three decades ago, and it’s also a big part of why today it looms large, both as an example of musical possibility and as a totem of womanhood. The front of Raw Like Sushi shows Cherry in full-on Buffalo stance, her arms crossed, her gaze set, her pout square. Its back cover, however, shows Cherry in flight and lost in the music, her curls midair, her arms splayed—realizing the joy in pure possibility, and dancing along with it as fast as she can”.

It doesn’t get talked about much, but I do think a lot of Pop who arrived after Raw Like Sushi was released owe the album a lot. The way genres were mashed and that distinct Neneh Cherry quirkiness; I can hear that in artists today. Very few artists before Cherry were covering the sort of themes she was and I think her subsequent albums helped cement that quality and influence – 1992’s Homebrew and 1996’s Man were huge albums that saw Cherry grow and expand. I will finish with my own thoughts but, in this great retrospective from 2014, The Quietus dove into Raw Like Sushi:

“…Even today, Cherry remains one of the most disorientingly eclectic of artists. On her debut album, Raw Like Sushi (1989), most of the tracks are catchy yet confusingly dense, throwing us off with their mood changes and far-flung references. Her voice switches nationalities within a single breath; she can come across as a sage or a brat, sophisticated or cacklingly malicious. Her tough persona implies a straightforward approach to her craft, but what the music presents is harder to decipher.

When we get to the critique of the pimp and the girls, Cherry's voice is superior and strident; throughout the album, there tends to be a view of boys as dominated and unripe, while the girls are predatory, standing around "wearing padded bras, sucking beer through straws." Men may be limp, but these young women are even less sensual, with their lacquered lips pursed over a can. So this first part of the song is rather abject, with its hawking voice, and its allusions to gross female display.

Cherry and McVey's style is not the warm, full-bodied sound of R&B: it has a much more inorganic feel, favouring fizzy noise over the deep tones of funk or soul. 'Buffalo Stance' has a coiled, compressed sound; beats form little eddies and bubbles which correspond to the blooming digital shapes of the video. The synth is thin and airy, evoking something crude and mass-produced: that's what makes the track distinctive rather than generically tasteful. Audiences may expect great music to be rich and rootsy; Raw Like Sushi remains strange because its sound is exactly the opposite – bright, sharp and cold, a rejection of the past.

Although she clearly draws from a wealth of cultural influences, Neneh Cherry has never been anything so wholesome as a "world" artist. Released at a time when both hip-hop and sushi were considered alternative, this album still stuns with its unique take on rawness: not the fuzzy lo-fi kind, but a sound which is actually grating and alarming to the ear. Raw Like Sushi is proof that great albums don't have to take on heroic structures; the record's most distinguishing feature is its exploration of superficiality and tackiness on both sonic and verbal levels. Instead of a sense of grandeur or orchestration, transcendence is achieved through an accumulation of small detail: a sampled screech, the odd tinny note, an image of tiny-mouthed women sucking through straws. Soulful phrases are combined with synthetic textures, so that each sound retains its own idiosyncrasy, rather than being refined into a whole”.

To me, Raw Like Sushi represents the introduction of an artist who startled the music world and opened minds. We can talk about the standout hits like Manchild and Buffalo Stance but there are also the more challenging and evocative tracks such as The Next Generation and Love Ghetto. I was very young when Raw Like Sushi came out but, through the 1990s, I followed Cherry closely and Raw Like Sushi gained new light. It is an album that does not sound dated and, every time I play it, I pick up fresh revelation and glory. It is a truly wonderful debut and, although Cherry has released some fantastic albums since 1989 (her latest, 2018’s Broken Politics, is exceptional), I do not think she has created anything as staggering and ambitious as Raw Like Sushi. I can spin these brash and wonderful songs but, as you play the whole album through, these other gems emerge. Neneh Cherry plays this year’s Glastonbury - and it will be a great opportunity for songs from Raw Like Sushi to reach new ears. I do wonder why Cherry wasn’t selected as a headliner this year but, with such a fine body of work under her belt, she will delight and excite those who are lucky enough to see her. If you have not heard Raw Like Sushi, make sure you listen to it and experience this phenomenal album. On Wednesday, it turns thirty and I do think it warrants fresh inspection and praise. 1989 produced some world-class and iconic albums but, riding high in the pack, is Neneh Cherry’s…

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 PHOTO CREDIT: David Burton

IMMENSE and timeless debut.

FEATURE: Female Icons: Part Five: Stevie Nicks

FEATURE:

 

 

Female Icons

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 PHOTO CREDIT: Peggy Sirota

Part Five: Stevie Nicks

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I think there are fewer finer female artists…

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 IN THIS PHOTO: Stevie Nicks is inducted into the Rock and Roll Hall of Fame for the second time/PHOTO CREDIT: Dimitrios Kambouris/Getty Images

than Stevie Nicks but, as she was inducted into the Rock & Roll Hall of Fame in March, I am keen to spotlight her now. It seems that, decades after she came into music, Nicks’ career is going to new heights. She has the same confidence and passion she had back in the 1970s and there is no slowing this incredible artist. The Rock & Roll Hall of Fame was a monumental achievement because, as Ultimate Classic Rock reported, it was the first time a woman was inducted twice:

“Stevie Nicks became the first woman to ever be inducted into the Rock and Roll Hall of Fame twice during an exciting and emotional ceremony at the Barclays Center in Brooklyn tonight.

The singer celebrated her remarkable achievement by performing several of her classic tracks to kick off the ceremony, including duets with surprise guest Don Henley ("Leather and Lace") and Harry Styles, the former One Direction member who inducted her ("Stop Draggin' My Heart Around)." "She is forever current, she is forever Stevie," Styles said. "On Halloween, one in seven people dress as Stevie Nicks."

Nicks was previously inducted into the Hall of Fame in 1998 as a member of Fleetwood Mac. She becomes the 23rd person to be enshrined for a second time, but is the first woman to do so. By earning her second induction, this time for her solo work, Nicks hopes to have blazed a trail for future female honorees.

PHOTO CREDIT: Classic Rock Magazine/2011 Future Publishing/Getty Images  

"I'm opening the door for other women" to get into the Rock and Roll Hall of Fame, a nervous-sounding Nicks said from the stage, after receiving a standing ovation. Her speech resembled her between-song banter at her solo gigs, bringing in charming anecdotes about her life.

She also talked about working with Fleetwood Mac -- "My amazing band is still together and very strong today" -- and reminisced on how Tom Petty gave her "Stop Draggin' My Heart Around" for her debut solo LP Bella Donna after it was determined the record didn't have a single. "Problem solved!" she said of getting the future hit.

She wrapped up her speech by noting, “If you ever need a keynote speaker, somebody to talk to, somebody to talk to a group of people, I am your girl”.

There has been a lot of change and movement in the Fleetwood Mac camp the past few months. One of their leads, Lindsey Buckingham – and former lover of Nicks – was fired from the band. The official reason is not really clear or straight but it appears like Buckingham wanted to delay touring with Fleetwood Mac to work on his solo album. Maybe that clash of priorities led to Buckingham’s dismissal but it seems like there was this power struggle between Buckingham and Nicks – the two have been on different plains since Fleetwood Mac recorded Rumours in 1976.

 IN THIS PHOTO: Fleetwood Mac being interviewed in 1975/PHOTO CREDIT: Polaris

The ripples were in the water during that album but, to me, that record is the one where Stevie Nicks truly shone bright. She and Buckingham appeared in Fleetwood Mac on the band’s eponymous album of 1975 and, since then, the band was given a new lease. Not that this new incarnation improved the band but, before Nicks, there was a gap and need for this rare voice. Christine McVie was (and is to this day) a stunning singer with Fleetwood Mac but Nicks brought new dynamics and colours to the group. The fact there was another female artist in the band meant there was a chance to broaden the material and take the band in a new direction. I love what Nicks provided back in 1975 and how much of an impression she made on the music. Crystal and Landslide are brilliant songs for sure but, to me, the standout of Fleetwood Mac is the beautiful Rhiannon. It glides and grooves; it sways and breathes with beauty and grace. It is a stunning song and one that announced this truly wonderful and unique spirit. One pictures Nicks – especially in the 1970s – and gets this vision of a woman who was very free and alive; this very spiritual, sensual and physical woman who was like nobody else in the industry. It must have taken some adapting in Fleetwood Mac, I guess, but you only need listen to Rhiannon to know that Nicks was born to play with them.

I guess Buckingham inspired the band to create more depth and helped add Blues touches to their palette. If Buckingham helped give greater confidence to Nicks and McVie, it is obvious Nicks ran with that and showed how strong she was. She was given a boost by Buckingham but that talent was innate and ingrained: she was always sensational and, at last, here was her chance to run wild. Despite the fact her relationship with Lindsey Buckingham was on/off whilst recording Rumours, the two did find some peace and common ground when working on songs together. I get two different impressions when I think about Fleetwood Mac and the Rumours sessions. Many of the songs were written solo and the band members were spending a lot of time apart – one imagines after dark there was more ‘bonding’ and letting loose. Buckingham was taking care of a lot of the production and, because of that, one wonders how much he was listening to Nicks. Maybe there were moment of musical harmony but, personally, the two were in their own camps. To be fair, other relationships in the band were falling apart – Christine and John McVie were going through dislocation and Mick Fleetwood was going through some trouble too. Nicks, dedicated to writing and creating the best music possible, is responsible for some of Rumours’ best moments. I think Dreams is one of the finest pieces of music ever committed to tape.

One can analyse the song to death but, in terms of the themes addressed on Rumours, there is that split between optimism and personal breakups. Think about Buckingham’s Go Your Own Way (directed at Nicks) and Christine McVie’s Don’t Stop (a message of hope and resilience). Not only is Dreams one of Nicks’ best vocals and compositions but the lyrics demand attention and love. I sort of sense a slight defeat where she can feel the strains of the band and life getting on top of her but, against it all, one listens to the song and feels revived and strong. It is a wonderful song with hidden messages, moments that make you second-guess and a chorus that makes the senses hum. That is not the only slice of gold on Rumours from Nicks. She, along with the rest of the band, wrote The Chain but there are two songs on the second side that strike me: I Don’t Want to Know and Gold Dust Woman. The former is a bit of a strange story. Another song, Silver Springs, was going to be included on Rumours but it was replaced. There was rankle and Nicks was annoyed that she was going to have only a couple of songwriting credits on the album. In the end, she was okay because she liked her performance on I Don’t Want to Know – a song that predates the album and is one her and Buckingham and Nicks had in their bag when they were recording as a duo. Gold Dust Woman, as Nicks has claimed in interviews, was about cocaine – how everyone was doing it back in those days.

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 PHOTO CREDIT: Herbert W. Worthington 

The take we hear on Rumours was, as reports go, recorded at 4 a.m. and followed many attempts to get the final take down – a long night in the studio where tensions were running a little high. There were some odd instruments used on the recording and it was said Nicks wore a black veil over her head when laying down her vocal. It was definitely a ‘memorable’ recording and one that sort of summed up the turbulence and magic of Rumours. I do wonder whether anyone will do a biopic about Fleetwood Mac during Rumours because it is one of the most fascinating from all of music. This band was pulling in different directions, personally, but there was this great unity when it came to the songs. Maybe Nicks was not too happy having so few of her songs on Rumours but I think her few contributions are among the strongest in the set. By 1979’s double-album, Tusk, the band had a huge weight of critical love behind them and, whilst their personal lives were still the subject of much scrutiny, they continued to make this amazing music. Nicks’ input on Tusk is incredible and, if she was still fighting (a bit) for more say, you have to admire the music that poured from her. I really love Sisters of the Moon and Storms but it is Sara – she loved the letter ‘s’ by the sounds of it! – that stands out from that album. Showcasing what a nimble and prolific talent Nicks was, this is another song that demands interpretation and close inspection.

There is some debate as to where the song comes from: Mick Fleetwood claims it might have been a reference to an affair he had with Nicks; some say it is a reference to Nicks having an abortion when she was with Don Henley (and the fact that she loved the name Sara for a girl). I will skip through a lot of the Fleetwood Mac back catalogue but, when it comes to the golden time, one must look at Rumours and Tusk. It is clear Stevie Nicks had to endure a lot of turmoil and strain during that time and things were not smooth for her. This enigmatic figure who was beautiful, graceful yet fierce, I do wonder what could have been if things were different in Fleetwood Mac – if she was given more say or there was less struggle between her and Buckingham. If Nicks helped create some of Fleetwood Mac’s best songs, her solo career allowed her greater autonomy and freedom. Take her debut of 1981, Bella Donna. Critically acclaimed and respected, songs like After the Glitter Fades and Edge of Seventeen are stone-cold classics – the latter had its riff sampled by Beyoncé to great effect! Nicks was recording these solo albums between Fleetwood Mac releases and tours. It is amazing she had the stamina and inspiration to keep recording but it seemed like her solo work provided this safer space and chance to try a slightly different sound.

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 IMAGE CREDIT: Getty Images

Some of Nicks’ solo work of the 1980s and 1990s did not fare too well with critics but I love 2011’s In Your Dreams. The reviews were largely positive and I am particularly struck by AllMusic’s interpretation:

“Perhaps it’s all down to Stevie Nicks being at peace with her legacy, perhaps she was coaxed back toward the ‘70s by producer David A. Stewart, perhaps it’s the presence of Lindsey Buckingham on “Soldier’s Angel,” or perhaps it’s the fact that she excavated a 1976 song called “Secret Love” for this album, but In Your Dreams is Stevie’s first solo album to embrace the sound of Fleetwood Mac at their prime. Nicks never exactly ran away from the Mac, but her ‘80s solo hits were tempered by a steely demeanor and her subsequent solo albums strove too hard to recapture the magic that In Your Dreamsconjures so easily. Despite the quite deliberate connections to her past, In Your Dreams never feels labored; the hippie folk drifts into the mystic pop, punctuated by some witchy rock that may be polished a bit too sharply by Stewart, yet he manages to keep everything warm despite its cleanliness. Stewart’s real coup is focus: he keeps everything tight and purposeful, letting each element snugly fit together so In Your Dreams winds up capturing the essence of Stevie Nicks, which -- as her previous three decades of solo albums prove -- is no easy feat”.

Her last solo album, 2014’s 24 Karat Gold: Songs from the Vault, included new versions of demos that Nicks primarily recorded between 1969 and 1987 and was another successful recording.

I do wonder whether there is going to be more solo material from Nicks over the next year or two because she keeps evolving and proving why she is so loved. One of these songwriters who is never short of inspiration and energy, you can understand why she was inducted into the Rock &vRoll Hall of Fame twice! It seems like Stevie Nicks is the same woman she was when she first joined Fleetwood Mac. She looks no older but, maybe a bit wiser, let’s hope Nicks keeps touring and recording for many years to come. I want to end with an interview Nicks gave earlier in the year with Rolling Stone where she discussed her legacy, work and relentless energy. I want to bring in a few questions that captured me and the answers Nicks gave:

“Congratulations on the Hall of Fame. How is it different going in the second time?

It’s 22 to zero. It’s 22 guys that have gone in twice to zero women — Eric Clapton is probably in there 22 times already! So maybe this will open the doors for women to fight to make their own music.

You’re one of the few rock stars with both a band and a solo career.

My solo career is much more girlie. It’s still a hard rock band — but it’s much more girlie-girl than Fleetwood Mac is. I never wanted a solo career — I always wanted to be just in a band. But I just had so many songs! Because when you’re in a band with three prolific writers, you get two or three songs per album — maybe four. But I was writing all the time, so they just went into my Gothic trunk of lost songs.

Christine would walk by me — my totally sarcastic best friend. She’d say [imitation of Christine McVie’s English accent] “Soooo. Writing another song, are we?” To this day, I write all the time. I have a poem that I’ve written about Game of Thrones, and I have a really beautiful poem that I’m writing about Anthony Bourdain.

But you still never slow down. You’re in the middle of a Fleetwood Mac world tour.

At the ripe and totally young age of 70, my voice hasn’t changed. As long as I take care of myself, I am still going to be doing this when I’m 80. There’s so many things I want to do. I want to do another record. I want to make a mini-series. If the coven reforms, I want to go back to American Horror Story. I tell myself, “Do it now, because you’re spry, you’re in good shape, you can still do the splits, you can still dance onstage and wear a short skirt and high six-inch heels.”

It’s a time right now when women are changing the world and changing music. What was it like when you first joined a band?

Joni Mitchell, Janis Joplin, Grace Slick — that was the beginning. I met Lindsey in 1966. Two years later, I joined his band. That was it — that was San Francisco music, Janis, Jimi Hendrix, Buffalo Springfield. Our band, the band I was in with Lindsey, we opened for that huge-ass group Chicago, with Bill Graham standing on the side of the stage. That night was the only time in my life I was heckled—some guy out in the audience went, “Hey baby. What are you doing later? You want to come home with me?” Bill Graham walked out on the stage and screamed at this guy and told him to get the f-u-c-k out and never come back. Basically, “If I ever see you again, I will kill you.” I didn’t know Bill Graham. A good five years later, I reminded him of that night and he remembered. He said, “Yeah, I don’t let that happen.”

IN THIS PHOTO: Stevie Nicks performing in 1981/PHOTO CREDIT: Clayton Call/Redferns  

What’s it like to hear the new female pop stars who idolize you?

That makes me happy because I didn’t ever have children, but I feel like I have a lot of daughters. I love Vanessa Carlton. She’s like my younger, younger, younger sister — like if my dad had divorced my mother and married a really younger woman, then had Vanessa. I’m so much older than her, but yet there’s such a little silken thread between the two of us when it comes to music. I have that with Natalie Maines, LeAnn Rimes, Hillary Scott from Lady Antebellum”.

There are some true female icons in music but there are few as big and respected as Stevie Nicks. She is a wonderful human who is hitting the road with Fleetwood Mac and will be busy this year – keep abreast of the Fleetwood Mac social media pages and see where she and the band are heading. I love the way she goes about life and how she has managed to inspire generations of artists. She is this super-cool person who is far deeper and more interesting than her peers and, when it comes to music, nobody has the same magic and oddity as she! Stevie Nicks is a treasure and heroine who has done so much to move music forward; so many great songs that we all know and love. Whereas some of her contemporaries look like slowing down and calling time, the immortal Stevie Nicks…

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PHOTO CREDIT: Randee St Nicholas

WILL go on forever.

FEATURE: Dime Quarter Nickle Penny: Following News the Music Industry Is to Receive a Big Windfall, Is It an Opportunity for Growth and Artist Compensation?

FEATURE:

 

 

Dime Quarter Nickle Penny

PHOTO CREDIT: @agent_illustrateur/Unsplash

Following News the Music Industry Is to Receive a Big Windfall, Is It an Opportunity for Growth and Artist Compensation?

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FOR many years…

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 PHOTO CREDIT: @sam_truong/Unsplash

we are being told that, when it comes to money in music, there is not a lot around. Maybe that is a simplification but, in terms of established and new artists, there is a divide. Maybe mainstream acts who accrue a lot of views and streams online can make a living from their music but it seems, for everyone else, the reality is quite bleak. I think, even if an artist does get a lot of love online, the amount of money that comes their way is pretty meagre. The artist is the one who does all of the work and it seems, more and more, it is the label that gets most of the money. In terms of where most artists get their money from, I think merchandise and touring is more lucrative than streaming. That said…there is news that music industry experts – whatever they are! – say there is a windfall arriving. Because of the booming business we are seeing on sites like Spotify; the way the industry is turning right now, there is a lot more money in the kitty. I was reading an article that appeared on Pitchfork that predicted this boom. As is highlighted in the piece, it seems that record labels might enjoy the lion’s share:

“In recent years, several financial institutions have predicted record labels will soon be celebrating annual revenues that begin to approach, if not surpass, their late-1990s peaks: What was an inflation-adjusted $25 billion-per-year business before the millennium could bring in more than $41 billion annually by 2030, according to Goldman Sachs. The biggest record label out there, Universal Music Group, which was bought by French conglomerate Vivendi for $32 billion in 2000, before the CD market crashed, is now speculated to be worth up to $50 billion.

PHOTO CREDIT: @gabrielgurrola/Unsplash

The market is America and the U.K. is quite similar and, when it comes to the amount of money a professional can make, the figures are quite shocking:

A recent survey by the on-profit Music Industry Research Association found that the median income for an American professional musician in 2017, when the industry was already rebounding, was around $35,000. Of that, only $21,300 came from activity related to music, including live gigs, streaming, and merch. For everyday professional musicians, live shows were the most common source of income in 2017; the median amount earned was just $5,427. Most survey respondents said they don’t earn enough from music to cover their living expenses.

That wage might sound pretty okay but you have to remember, when you tally that against living costs and everyday expenses, does that leave you a lot? So many artists are breaking their backs and working ridiculous hours. It is the physical side of the industry – the touring and promotion – that seems to reap the greatest reward: conversely, it can take the most out of that artist in terms of their physical and mental wellbeing. I urge people to read the article on Pitchfork’s website because it makes for very illuminating and detailed reading – they break down the revenue artists earn and where that comes from (touring, ringtones and that sort of thing). There is a lot to be said for earing revenue through streaming but one has to wonder whether too much of the pie is going to the labels.

 PHOTO CREDIT: @bahiapictures/Unsplash

Are we going to see a time when more of the revenue from streaming goes to the artist directly? Pitchfork found out and it seems, happily, that there is a light at the end of the tunnel:

According to the artists, managers, label executives, and industry observers I spoke with for this piece, streaming is transforming the music business in a way that should allow certain artists to keep a bigger share of the earnings from what they create. And yet, just as it’s been throughout the history of recorded music, most of the money will not go to artists

To that end, the Music Industry Research Association’s survey of working musicians suggests that streaming will have a long way to go before most artists can rely on it to pay the bills: Only 28 percent of the survey respondents indicated they made any money from streaming royalties in 2017, with the median amount totaling just $100. “If all of us just do this for free, these things will not exist,” says Katie Alice Greer, singer for rock trio Priests and co-founder of the indie label Sister Polygon. She tells me that although her imprint has tended to enjoy strong physical sales relative to its size, streaming revenue remains negligible”.

We are in an age where streaming seems to dominate and we see these ridiculous figures. A big artist might get several million streams for their latest hit and you’d think, with that sort of scope, they’d be in for some serious cash! It does seem that the physical product is more reliable when it comes to generate money – it makes me wonder whether streaming services need to think about the way they distribute revenue and whether everyone should be charged for using these services.

 PHOTO CREDIT: @fimpli/Unsplash

I do think the news regarding an upswing warrants some celebration. Billions of dollars’ worth of revenue is expected to go into the industry and, whereas the artists are the ones doing the heavy lifting, let’s hope that the labels and bosses do not get too much! So many people I know look at the realities of being in the industry and fear they cannot afford to play and live – the realities of balancing a career in music and living. Smaller artists do not have the luxury of big labels and have to invest a lot of their own money into their careers. I would like to see the projects billions not only going to the artists but I think, going forward, we need to evaluate streaming services and negotiate a fairer deal for musicians. I do think a lot more needs to be done, in the U.S. and U.K., to preserve venues to ensure artists have a place to perform. I also think that mental and physical health issues are impacting heavily on the industry. Ensuring there is some sort of organisation or body that monitors artists and provides a safe space is essential. There are great charities out there but I would like to see a much more hands-on approach to protect artists and not put too much burden on their shoulders. Essentially, as so much of the money is coming from artists’ brilliant work, more cash needs to get into their pockets. It is obvious that financial demands and stresses and putting a huge pressure on artists and that can have a devastating effect.

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 PHOTO CREDIT: @austindistel/Unsplash

I am not suggesting the windfall the industry will receive can transform things and make artists, small and mainstream, wealthy and secure – I do not think that reality is possible. This predicted windfall, combined with a greater effort to ensure those who use streaming services pay for the music, can help create equity and a fairer deal for artists. Music is, of course, more than streaming and online popularity. There is the touring lifestyle and putting out physical products; getting into the studio and promoting the work. Given the fact (it is forecast) billions will be readied and waiting, maybe having a worldwide music body, one that designates money where it is needed, would be beneficial. It would be like the Red Cross for the music industry: having this central reserve and then disseminating portions of that money where it is needed would be great. I feel like the concerns around profitability in music is hampering the next generation. Many feel that there is no use recording music because you spend more than you earn. To be honest, money alone cannot ensure that every artist in the world is secure and safe: someone, somewhere is going to struggle and there are too many artists right now to make this utopia a reality. That, in itself, is depressing but you cannot throw money in every direction and expect everything to be solved.

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More money comes from fan funding and live performance than it ever will from streaming – a platform where you can reach more people and get more exposure, ironically. Those who only have a small collection of fans are not privy to the benefits of streaming revenue. I think, with more money being injected, maybe making sure upcoming artists are at least slightly better off would be a good step. It is hard to make sure that the money generated goes to those most deserving. It is obvious that there is this big divide regarding which areas of money earn every artist the most (touring and fans) and how streaming revenue is distributed – too much to the labels and bosses and not enough to the humans who actually make the magic happen! I am pleased that there is a lot of good news regarding revenue and modern music. Wherever the finance goes, it shows that more people are experiencing music and there are plenty of options regarding strengthening and diversifying music – making sure there is a safety net for venues, artists and creatives. Not since the 1990s has there been this swell and sense of resurgence, it appears. I have every faith that those charged with sowing financial seeds in music’s wide and rich landscape will make the right decisions. Whilst we can rejoice regarding the financial forecast I implore those who have the power to remember the importance of the artist and ensure that enough money…

PHOTO CREDIT: @thisisramiro/Unsplash

GOES their way.

INTERVIEW: Diving Station

INTERVIEW:

Diving Station

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A big thanks to Anna and Sean of Diving Station...

for telling me about the new single, Film, and its story. I ask how the Manchester-formed band got together and what sort of music inspire them; Anna and Sean pick their favourite albums and recommend some rising artists to look out for.

I ask how it feels having their music backed by some big names in radio and whether there are gigs coming up; who they’d support on the road given the choice and what comes next for them – the guys each select a song to end the interview with.

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

Sean: Hey! Not bad thanks. This week has been spent prepping for the single release and trying to get our head around summer festival/gig dates, which is super-exciting but a little head-achey.

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

Anna: We are Diving Station. We make ‘Harp-Driven-Dream-Pop’. We write story songs, Shoegaze chants and what I like to sometimes describe as ‘bath music’.

How did Diving Station get together? Did you all know each other from way back?

Sean: We all met at university in Manchester, studying music at the RNCM. It started with our drummer Barny asking around for people with a similar music taste. We made friends over our love of Bombay Bicycle Club, CHVRCHES and Foals. From then, we had a few rehearsals, the first of which resulted in a ten-minute jam of what became our first ever song, Turn Off. Four years later and here we are!

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

Anna: Film was born out of a poem I wrote about feeling lost within yourself and the importance of acknowledging that. Writing has always been a catharsis to me, and here I used it to extradite the stuff I was bored of carrying around. Lines such as “Throw me a bone; I’ll chase it” - and the repeated tagline of this song: “It’s fine, I’m told” - are a comical comment on societies’ blatant and relentless urge to turn a blind eye when things get even slightly difficult. However, I want it to mean whatever people want it to mean for them: don’t let me and my crap sway you!

Your E.P., Feather Mouth, has gathered huge acclaim. What does it feel like getting support from big names in radio, for example?

Sean: Getting support from the likes of Steve Lamacq and Tom Robinson from BBC Radio 6 Music was huge for us. I still feel excited when I think about it now, though equally exciting is just knowing people have heard and enjoyed the songs we wrote as friends at uni. We owe a lot to the hero that is Ryan Paul from BBC Introducing Manchester who has sent our music around the BBC relentlessly since its release.

The band is based in Manchester. How inspiring is the city and its people to you?

Anna: As a band, we come from all corners of the United Kingdom: Edinburgh, the Isle of Man; Reading and Stockport. Manchester is where we met and I think for all of us it feels like the first place we all chose to adopt as our own. To me, Manchester is an honest, humane and also quite a hard place to live. I am very inspired by the people of this city and how down to earth they are. We explored this in our song, When I Arrived It Was Raining, off of our last E.P.

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

Sean: Playing at Bluedot Festival a couple years ago was a stand-out for me. It was the first ‘proper’ festival we’d played and the little things, like getting AAA stage passes, proper toilets and a buggy to get our gear to the stage, was such a novelty for us!

Which albums from all of music mean the most to the band (and why)?

Anna: As a Desert Island Discs collector, I have been working on this for a while. I will give you my top-three:

Karine Polwart – Faultlines

She taught me the importance of writing through observation and her music reminds of home and growing up on the Scottish music scene.

Nina Simone - The Very Best of Nina Simone

A compilation seems like cheating, but I learnt to sing by listening to these Jazz standards and copying them; Nina herself is truly the very best.

Corinne Bailey Rae – Corinne Bailey Rae

This was the first album/C.D. I ever bought; I must have been about nine or ten. They’re just bloody great songs.

Sean: My favourite albums change all the time, but there’s a few that have stuck since I first heard them. Phoebe Bridgers’ Stranger in the Alps must be one my most-played albums in full since I’ve been alive - and it’s not even been out two years! From my teenage years, Death Cab For Cutie’s Plans was definitely one of the first that made appreciate the album format and the beauty of listening to it from start to finish. Every song on there is great, but they also have their place in creating a perfectly-paced and hard-hitting piece of work.

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

Anna: Hmmm. Well, I guess our collective favourite band would be Dirty Projectors and that would be a pretty ridiculous experience for us. In terms of a rider, it would probably be something like:  all the necessary ingredients for a hot toddy; three fish suppers and one halloumi supper from Manchester’s Leo’s Fish Bar;  ten packs of sweets (for Barny, our sweet-toothed drummer); one big, fat hypoallergenic cat.

What advice would you give to new artists coming through?

Anna: Never ever compare yourself to other artists and, for God sake, don’t Google how old they are. It takes time and everyone is different. The best advice I have gotten this year was to make goals based solely on the progression of the music and not on the progression of the project…and that has really helped.

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

Sean: We’re playing a fair bit over summer. You could catch us at the Toad Hall Stage at Glastonbury; The Tramlines Fringe and the BBC Intro Stage at Bluedot. After that, our next headline gig is at YES, Manchester on 3rd October. There’s also talk of a Leeds headline show and some tour dates around that…

What is a typical gig like for you guys? What might we expect if we come and see you perform?

Anna: That’s a funny one because a typical gig for us might be very different to a typical gig for the crowd. I’d hope you would find in it something fun, intimate and relaxing. But, come along, decide for yourself and let me know afterwards!

What plans does Diving Station have for the rest of the year?

Sean: Outside of the gigs, following our latest single, Film, we’ll be releasing a second single, Honeybees, with the headline gig in October. Apart from that, we’ll be writing away and prepping for more releases in the New Year. We’ve also been talking about having a writing retreat in the countryside sometime; to get some focused time away from the busyness for a weekend or so...

 IN THIS PHOTO: Rozi Plain

Are there any new artists you recommend we check out?

Sean: We went to see Rozi Plain on her tour for the release of her latest album, What a Boost, which was absolutely magical. Another recent discovery has been ALASKALASKA, who Anna went to watch at YES a few weeks back. They’ve just released an album and it’s been on-repeat on our band Spotify playlist since.

 IN THIS IMAGE: ALASKALASKA/IMAGE CREDIT: Elliott Arndt

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

Anna: Music takes up a lot of our lives and that sometimes does become a bit of a chore no matter how grateful we are for it. I love hopping on my bike and going for a wee cycle through town. This always sorts me out. Other than that, I have recently gotten into pottery and find that to be a nice way to be creative away from music!

Sean: At the moment, it’s pretty much full-pelt music all the time. It seems to be the only way we can sustain it at this stage. For me, anywhere outside and more natural feeling than the city centre makes me feel best. A trip to the Peak District is a dream day off!

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

Anna: To Be Remembered - ESKA

Sean: From - Big Thief

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Follow Diving Station

TRACK REVIEW: YONAKA - Wake Up

TRACK REVIEW:

 

YONAKA

Wake Up

 

9.5/10

 

 

The track, Wake Up, is available via:

https://www.youtube.com/watch?v=hbLptuA9XQo

GENRES:

Alternative/Pop

ORIGIN:

Brighton, U.K.

The album, Don’t Wait ‘Til Tomorrow, is available via:

https://open.spotify.com/album/20XIFoAtLYdFGnDoqNwnbf?si=tenVP1fFQFeYYJQVWIX9MA

RELEASE DATE:

31st May, 2019

LABEL:

Asylum Records UK

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THIS time around...

 PHOTO CREDIT: Rory Barnes

I want to talk about bands and artists coming out of Brighton, addressing subjects like toxic relationships in music; mixes of Pop and Alternative in music; female-fronted bands and why festivals/the industry needs to take more notice; a bit about underground artists are their future in the industry – I will end by speaking about YONAKA and where they might head. It is interesting addressing YONAKA because I have been following them for a little while now and have seen them grow as a band. Their album, Don’t Wait ‘Til Tomorrow, is out and it is the culmination of years of grafting and hard work. The guys have a really tight connection and great sound that they have forged through live gigs and regular play. It is testament to their chemistry and abilities that they have released an album that is gathering great reviews and going down a storm with the fans. They have got a lot of exposure in London but I think it is their roots in Brighton that has helped them to stand aside from the pack. I live in London but I know full well that there is more room and time to breathe in Brighton. It is a part of the country that inspires the senses and allows one to recharge. There is far less bustle and stress than in London and the people are fantastic – there are nice people in London but nearly as many as in Brighton. It seems like, despite one or two venues closing, there is a really strong live scene and some great artists bursting through. There is a lot of emphasis on London – because this is where most of the big venues and labels is – but one cannot discount the appeal and strength of Brighton. It has a fantastic mix of people and great venues like The Green Door Store give space for artists to cut their teeth and hone their craft. More than that, there is this feeling of community and support that one does not get from other parts of the world – there is also the convenience of being quite close to London in terms of commuting to gigs.

 PHOTO CREDIT: Ryan Saradjola

I wonder whether a lot of people are aware of Brighton and why bands like YONAKA are thriving. You only need to go down to Brighton and spend some time there to understand there is something in the air; a sense of wonder and relaxation that gets into the bones. The variety of music on offer down in Brighton is also impressive. You can find all sorts of genres and styles to suit your tastes; this real blend of colours and textures to amaze and dazzle. Great record stores like Resident provide a chance for in-stores and inspiration; festivals such as The Great Escape display a banquet of artists and give local groups the chance to ply their trade and impress the crowds. This year has seen Brighton in the spotlight. I think The Great Escape – where YONAKA featured – is more balanced (in terms of gender and genre) than most festivals and brings a lot of new followers and faces to Brighton. There is so much emphasis on London and what is happening there but I feel so many people are heading there and it is getting harder and harder to stand out. I think, in terms of YONAKA’s sound, they sort of take from the scenes and sights around them but they possess a sense of innovation and brightness I do not think they’d have if they were in London. That might sound strange but I think they are influenced by their surroundings and the people of Brighton. It might be the case that they relocate to London so they can find more opportunities but, as Brighton is so close in terms of a commute, I do hope that they remain put for a while because, as their new album takes hold and gets buzz, they will get a lot of gig requests and love from Brighton. I shall move on but I think it is interesting in Brighton right now. I went down there a few months ago and saw pubs and venues boasting live music; a general vibe that is hard to ignore and a happiness that one does not get from London. Maybe the reality is different but one goes to Brighton and they are instantly lifted; their troubles melted and their mind opened.

It is interesting addressing YONAKA because I have been following them for a little while now and have seen them grow as a band. Theresa Jarvis, the lead of YONAKA, brings a lot to the party on the band’s album. Don’t Wait ‘Til Tomorrow’s title suggests taking the bull by the horns and seizing the day. There is that need for urgency and getting out of bad situations; not putting things off and taking chances when they come your way. I will quote an interview from YONAKA in a bit but, when looking at themes on the record, it seems that toxic relationships play a big role. I am not sure whether Jarvis has been on the receiving end of bad love and mistrust but it seems like she is taking from her own experiences. Everyone can relate to situations where one person in a relationship is controlling or is exerting a lot of pressure. Getting away from that and moving on can be hard but YONAKA’s lead feels that it is possible – taking those steps and realising you do not need to be with that person if they are bringing you down. There is more to YONAKA’s album than relationships alone. The band address mental-health (on the album) but manage to fuse serious messages with songs that have a distinct bubble and pop to them. Look at this interview YONAKA gave NME earlier in the year and they explain what inspired their recent material:

“I want them to feel strong,” starts Theresa Jarvis of what she wants people to get from Yonaka’s debut album. “I want them to feel empowered. I want them to feel like they can kick the door down and go get what they want.”

It’s a strutting, confident message from a band who’ve spent the past few years growing in strength; collecting their power and kicking down whatever doors have been stupid enough to stand in their way. The end result is ‘Don’t Wait ‘Til Tomorrow’, a record that captures all that growth and, alongside a blossoming belief, twists it into a celebration of everything that the band stands for…

“I definitely do think what we’re doing is important. When we get offstage, all these young girls come and speak to me saying we’ve given them confidence to do this or ‘thank you for talking about this, you’ve made me feel better’. If young girls are saying that, that’s fucking amazing. It’s definitely important,” beams Theresa. “We were getting the album together at that point as well, which helped solidify it,” continues George.
“It’s saying reach out to someone, change something or do something about it. Don’t leave it too late. I was going through some really bad anxiety myself. I couldn’t sleep properly and I was feeling really shit. I started reading Matt Haig and his writing captured exactly how I felt, but couldn’t explain. That was really important.”

She continues: “Sometimes you feel really lonely, like ‘It’s just me, I’m going to die’. To know someone else feels the same way I do, that helped me when I wasn’t feeling good. I’ve got family and friends who suffer with depression and it really gets heavy on people. People’s brains, they can take over and put you in this horrible place. ‘Don’t Wait ‘Til Tomorrow’ is a message to let you know you’re not alone. Other people are going through the same stuff and you can reach out and talk to someone”.

It is great that YONAKA have managed to inspire young girls when it comes to big subjects; stuff that is not necessarily being broached by their friends and at school. YONAKA put mental-health at the front and, when it comes to loneliness, they know that there is someone out there who feels the same – Don’t Wait ‘Til Tomorrow is that realisation that we can all find someone to relate to and we need to discuss these sort of themes. Whereas a lot of artists are still concentrating on their own struggles and very narrow themes, YONAKA are a part of a new wave who are going deeper and being more inclusive with their sounds.

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 PHOTO CREDIT: Elina Lin

It is hard to describe the sound of YONAKA but they seem to mix Pop, Punk and Alternative together. I look the Pop edge because it gives their music a sense of colour and lightness. When they address themes like toxic relationships and loneliness, it is important the messages resonate and strike but, in terms of memorability, they have made the palette a bit less stressful and tense; it allows the songs to convey something important but make people move at the same time. I do think modern music lacks a sense of smile and fun and, even though YONAKA are dealing with some serious stuff on Don’t Wait ‘Til Tomorrow, they are able to write some big choruses and lace in something charming. Led by Jarvis’ excellent vocals and intoxicating spirit, the band come together wonderful and have this busy and exciting sound. I guess there are artists putting together Alternative and Pop but I do feel it is a style of music that should be more popular and exposed. There are too many downbeat songs around right now so it is a relief to discover YONAKA. They can make you think and highlight something pretty raw but, at the same time, they want people to move and feel free. This is a potent combination and something that makes their album a real hit. The band give us big hooks and you are never in short supply of rush and energy. Their music definitely awakens the senses and this is music you can sing along to. Whereas some artists are quite closed-off and can be pretty dour, YONAKA are bursting with life and their music gets people together. Those who have seen them live – I should do next time I am down Brighton way – state how friendly YONAKA are and how they always have time for their fans. Their live performances are excellent and you can feel some of this energy in the album. Rather than produce something polished and fake, the band have kept close to their roots and have released and album that will please existing fans and bring in new support.

 PHOTO CREDIT: Rory Barnes

Going forward, I hope YONAKA will keep their sound true and not feel the need to change too much. I love the fact that YONAKA have these great choruses and can put hooks in the mix but there is this rawness that makes you want to get into a mosh-pit and let everything fly loose. YONAKA have strengthened as a unit and I am sure they will say their new material is more meaningful and nuanced than their earliest days. I know Jarvis has looked back at some of the early songs and wonders what she was saying. It seems the band is riding a high now and, with industry backing and a growing fanbase, they seem ready to take the next step. I do think they have an important role to play in music. There is some great Pop and Alternative around but nothing that has the same sound as YONAKA. They bring together some shades of the 1980s and 1990s – always good when you want to cross the generations – so that is something that speaks to me. They are always in the present day but, as they do straddle time and moods, their music has this variety and width that means everyone can take something from it.

Everyone who sees them live tends to say the same thing: they are one of those bands that you cannot forget and you want to see again. It is obvious YONAKA are among the most exciting groups coming through right now and they back that live reputation with incredible songs that stay in the brain. I find so many modern tracks have a sort of doomy skin and it can be a bit depressing. I yearn to uncover great artists who can talk about something serious but have a fun time whilst doing so. YONAKA is what we need in music at the moment and I cannot wait to see where they head next. Let’s move onto something else because I am keen to look at YONAKA as a possible future-headliner.

I have been very feminist-minded the last few days and, whereas I am continuing today, I do feel that so many great female artists are being overlooked. YONAKA might be underground and rising right now but that is not to say they will be quiet for too long. They have this great local reputation but are starting to get a lot of attention from further afield. I look at festival line-ups this year and there is a lack of female headliners. There are not even female-fronted bands at the top and that worries me. Considering there are so many great women around right now, I do wonder what is holding festivals back. Look at European festivals like Primavera Sound and they have the likes of Robyn and Solange rocking the crowds. They have shown that a fifty-fifty gender balance is possible at festivals. I wonder why we here are not able to match Primavera Sound because they have shown how easy it is! As this BBC article shows – when putting Primavera Sound in the spotlight – there are a lot of great female artists and bands out there:

“Charli XCX, Lizzo, FKA Twigs, Christine and the Queens, Robyn and Sigrid are just a few of the names on the bill. And when headliner Cardi B pulled out Primavera managed to replace her with another big name - Miley Cyrus.

"We love music and if you love music in 2019 it's quite obvious that it's done both by men and women the same way," says Primavera's Marta Pallares Olivares.

She says it was only when last year's festival ended that they decided to try and achieve an equal gender balance this year - something they're calling the "new normal".

"It's not difficult once your mind is set - when you decide that you want to do this, you start looking for female bands and see that you have been listening to them during the last month," she tells Radio 1 Newsbeat.

"I will say to all those people who say there are not enough female acts out there - because I've heard that - that it's simply a lie. They are out there - because they're here".

 PHOTO CREDIT: Rory Barnes

We do need to address festival imbalance and show that an equal gender split is what should be happening every year. Great female-led bands like YONAKA might look at festival line-ups and feel that they could never headline because they are fronted by a woman. Look at Wolf Alice – a band who won the Mercury Prize – and one wonders why they were not chosen to headline any festival this year. I can name so many great female/female-fronted bands that are capable of producing a great headline set – one wonders if they are even considered and part of the conversation. It is sad to see but it makes me wonder what festival organisers are looking for in headliners. I think YONAKA tick a lot of boxes. They have these immediate songs that are memorable and get the crowd pumped. Their live sets are fantastic and they are getting stronger with every new release. I do think that, when they have another album or two under their belts, they can own a headline stage. I do wonder if, by that time, festivals will be more attuned to the variety of music and how many great women there are. In any case, we need to change where we are now and stop holding women back. I do actually think that female/female-led bands provide that perfect mix. I prefer a female voice up front with a band because I think there is more depth and emotion in the voice. Having men and women in a band, I feel, gives the music more variety and different voices. There is a chemistry in the ranks that leads to terrific music and that translates readily to the stage. Who knows where music will head in years to come but I do think that bands like YONAKA warrant the chance to headline. They are underground right now but, as I said when talking about Brighton, there are some really good bands emerging that you need to look out for.

There are distinct themes that run through Don’t Wait ‘Til Tomorrow. You only need to look at the song titles to realise escape, movement and defiance are all high on the list. The opening to Wake Up is one of the most compelling (introductions) on the album. The band are masterful when it comes to providing these great introductions and giving each song a real sense of character and voice. We get some great percussion leading from the back and a mix of tripping strings and warped electronics. It provides this contrast of buzz and nimbleness that drags the mind and senses in different directions. When Jarvis comes to the microphone, she talks about, when she closes her eyes, she makes some sort of compromise. Before I continue, I wanted to say that, apart from a couple of songs on the album, the band have brought new material to the plate on their album – whereas a lot of other bands tend to cram albums full of old songs. Also, every song on the album is between three and four minutes long: none last any shorter or longer, if you see what I mean. One can hear hints of YONAKA’s earliest material but there is freshness on songs such as Wake Up. That sense of being allowed to wander – without being too long-winded – means the tracks breathe and expand. Jarvis, when talking about closing her eyes, knows that this is not real life. I do wonder what she was referring to when she said she was compromising – maybe having dreams of love and being stuck in a bad situation. Maybe she goes to sleep and pictures horrible scenes from a relationship and knows that, as this is a dream, she has control in real life, maybe? It is an intriguing line of thought and Jarvis continues with lines about kissing people she does not like and experiencing all these bad moments. Things seem a bit rough when she lets her imagination take control but, as she keeps telling us, this is just a dream and she can wake up.

I love the sounds YONAKA put together; this blend of strong but sweet vocals – in the sense there is light and colour but plenty of teeth – and an incredible composition. In a way, there are similar threads one can find in bands such as black midi (who portray a similar blend of tones in their music) and it is great to hear. As I follow Wake Up, I had to ask myself whether what we are hearing is in the heroine’s past. Is the heroine still going to sleep and trying to escape these bad memories and visions? It appears that, whilst she can wake up and take control, maybe the ghosts of a bad relationship continue to weight her down. It seems like her boyfriend is with another girl and things have not been too great for the heroine. When she goes to sleep, she runs with gorillas in the moonlight and seems to fall into this rabbit hole – maybe the natural result of her building anxieties manifesting into something quite divorced and weird. When she does wake up, it is a chance to run away from the bad dreams but it seems like real life is not so straight-forward. Sure, Jarvis can take some control and get away from a toxic relationship but she still has to cope with a lot of heartache. Even if the heroine talks about s*it getting real and things being a bit strained, the way the song is delivered definitely gets the voice ringing.

PHOTO CREDIT: Rory Barnes

In a way, the words become more memorable and indelible when there is a sense of positive and pop in the delivery. There are definite nods to 1980s Pop when you hear the chorus burst into life. I am not surprised YONAKA have a big live following because I can imagine songs like Wake Up get people chorusing together and in a great mood. That is not to ignore the song’s message and the fact Jarvis is dealing with something pretty rough. That contrast between dreams and a lack of escape and being able to tackle things when awake is pretty vivid. I do wonder whether, in the song, she has someone with her offering support and backing. Maybe her boyfriend is not as reliable and supportive as he should be and one gets the sense the heroine is finding the power and strength to get through some choppy waters. Wake Up is an incredible song that has this breeziness and big heart but there are deep messages that many people can relate to. If you like Wake Up and want to hear more of this sort of track, investigate Don’t Wait ‘Til Tomorrow because YONAKA have produced a dazzling album full of gold.

I shall end things here because, I hope, I have talked about YONAKA enough and drilled down to their core. I am a big fan of theirs and think that Theresa Jarvis is one of the most compelling and extraordinary leads in British music. She is an intoxicating presence and someone who is leading a mighty band right now. YONAKA were at The Great Escape Festival and they seem to have a really solid and supportive home in Brighton. They are a lot of fun and they always provide great interviews; their live shows are exceptional and the music is wonderful. I think they have all the components to succeed and endure for many years to come. Keep an eye on their social media channels because they are busy gigging and, if you can, make sure you get and see them. I wonder whether they have had an in-store at their local record store, Resident, because that would be pretty cool to see – I would definitely come down and see them if that was the case. Their album, Don’t Wait ‘Til Tomorrow, is out and the band will want to focus on that and make sure it is promoted far and wide. I have seen some reviews for the record and there is a lot of love for YONAKA. It is hard to ignore them and I do really believe they will be big in the future.

I love what they are doing and they will definitely inspire other bands emerging. I have talked about Brighton and mixing Pop and Alternative together. I do think that, if you need your creative batteries recharged, Brighton is a great place to head. There is so much happening down there and you only need walk around for a couple of hours to realise how relaxed things are. It is so easy to get the juices flowing and be influenced by what happens around you. This is more or less the start for YONAKA but I know they will be setting their sights on the future and where they will head next. I feel there will be international dates and I feel like they can do a lot of good in the U.S. With an album out, they have this bargaining chip and way in; a great set of songs that would sound amazing in the live arena. Congratulations to the band on Don’t Wait ‘Til Tomorrow and, if you are not familiar with their work, then make sure you spend some time…

FALLING in love with them.

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Follow YONAKA

FEATURE: Thank U: Alanis Morissette at Forty-Five: The Playlist

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Thank U

PHOTO CREDIT: Mario Anzuoni/Corbis  

Alanis Morissette at Forty-Five: The Playlist

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I have been a fan of Alanis Morissette since…

 COVER/PHOTO CREDIT: John Patrick Salisbury

her 1995 breakthrough album, Jagged Little Pill. That album seemed to appear out of nowhere – even though she had released a couple of albums before that – and put her name on the musical map. That is, perhaps, the album most people associate with Morissette but it is not her only golden release – 1998’s Supposed Former Infatuation Junkie is a masterpiece in its own right! Today is Alanis Morissette’s forty-fifth birthday and, in addition to wishing her many happy returns, it is a great opportunity to revisit her brilliant work and, as I love to do it, assemble a playlist. Jagged Little Pill is in the news because it – or a musical about it – is being brought to Broadway. This article provides more details:

“Alanis Morissette didn't want her landmark album Jagged Little Pill to become a bio-musical. So when producers approached her eight years ago about bringing the music to the stage, she had some requests.

"I was flattered and my initial thought was, is it going to have to be my story? Because that's terrifying. Maybe one day I'll have the audacity to share it in another form," said Morissette at a launch event for the musical in New York. "The last thing I wanted to do — to be transparent — was any kind of a jukebox musical or anything that felt compartmentalized or separate."

The cast and creative team gathered at Haswell Green's in Midtown on Tuesday night to share songs from the show and to talk about the genesis of the production. The musical premiered at American Repertory Theatre in Cambridge, Massachusetts, last summer and is scheduled to start performances on Broadway in November.

A.R.T. artistic director and Tony winner Diane Paulus stages the new musical, which has a book by Diablo Cody, a 2008 Oscar winner for her original screenplay for Juno.

The show takes those songs and weaves them through a timely, female-driven story about characters dealing with issues ranging from addiction and gender identity through sexual assault. The songs take on new life onstage, yet retain their inherent drama. "You Outta Know" is still an anthemic breakup song, and "All I Really Want" becomes an opening "I Want" song for a family struggling to communicate.

"I have learned more from Alanis and the thoughts she's given me and the books she's told me to read about understanding, which is key to this musical," Paulus said. "We cannot heal anything that we are hurting about if we're alone. Everything is done in relationship to other people and that is fundamental to what she's given us."

Cody crafted a story by zeroing in on characters that already existed in the album. She started with the central figure of Mary Jane from Morissette's song of the same name. In the musical, Mary Jane is a mother struggling with addiction and mental health, distancing herself from her marriage and children.

"That song tells you everything you need to know about that woman, and so I was able to build it out from there," Cody explained. "I just feel very fortunate to have this incredible, theatrically rich, beautiful source material to work from. It's not a typical jukebox musical situation where you're thinking, 'How can I shoehorn this hit into the story?'"

The musical/show is a great chance for people to see a new side to an album that garnered a huge amount of praise upon its release. It would be unfair to link Morissette with the one album but, with songs such as You Outta Know, Hand in My Pocket and Ironic in the pack, one cannot overlook its brilliance. I always found myself supporting Supposed Former Infatuation Junkie. Released in 1998, songs such as Thank U and Unsent were hits and (the album) received widespread critical acclaim. AllMusic, in this retrospective review, were very positive and complimentary:

“Also, she has clearly spent some time crafting her lyrics; not only do they never sound like straight diary entries, she no longer is trying to fit too many syllables into a phrase. These two differences are subtle -- the brooding, Eastern-styled music that dominates Supposed is not. There are numerous extensions of the vague hip-hop and pop fusions that made "Hand in Pocket" and "All I Really Want" huge hits ("Front Row," "UR," "Thank U," "So Pure"), but much of the album is devoted to moody ballads and mid-tempo pop, where the textured production functions as a backdrop for Morissette's cryptically introspective lyrics. Far from being alienating, this approach works surprisingly well -- not only do the pop tunes sound catchier, but the ballads, with their winding melodies and dark colors, sound strong and brave. If anything, the record is more coherent album than its predecessor, and even if it isn't as accessible or as compulsively listenable, it's a richer record. That said, it won't win any new fans -- for all of her success, Morissette is a weird acquired taste, due to her idiosyncratic vocals and doggedly convoluted confessionals -- but it certainly confirms that she doesn't quite sound like anyone else, either”.

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IMAGE CREDIT: Getty Images

Morissette’s last album, 2012’s havoc and bright lights, is a very different beast to her golden days but it did show that she was capable of evolution and changing styles without compromising monster choruses and catchiness. I wonder whether she is planning more material or, with a musical in full swing, things are a bit busy. When Jagged Little Pill was released, it not only won awards and big reviews, but it influenced a score of female artists – including Shakira, Meredith Brooks and P!nk. It is the timelessness of Jagged Little Pill’s best moments that make you realise nobody like Alanis Morissette has arrived since. Before rounding off, I wanted to bring in a Variety article from last year that featured Alanis Morissette as she prepared Jagged Little Pill for the stage. She (alongside Diablo Cody) talked about the album and some of its themes; why feeling angry was a force for good:

“I see anger as this gorgeous life force,” said Morissette. “It’s actually one of my favorite feelings because it’s a catalyst. The destructive version of anger gets such a bad rap—the destructive acting out and lack of maturity and inability to contain it gets the bad rap. And our traumas can create so many different personality disorders to the point where the empathy is gone, the curiosity is gone...

PHOTO CREDIT: Getty Images 

 [...] Those are the first things to go and connect us as human beings. . .this disconnect with ourselves and each other is becoming normalized, to the point where our health is being affected. Our wellbeing. A lot of us are anxious and depressed. And it’s no wonder that we are.”

“One of the big lessons for me, sitting in the audience—which was very surreal—was taking in how these relation-ial interactions are healing,” said Morissette. “Writing is such a cathartic experience. . .I thought I could just get away with writing in my journal and just writing songs for the rest of my life—and never have to deal with human beings. But it didn’t work. It was incredible to work with Diablo and [director Diane Paulus]. . . because it was so healing”.

If Alanis Morissette’s most-famous album is coming back strong in a new guise, we cannot ignore her other work and what she has given to music through the years. To celebrate her forty-fifth birthday, I am ending with a forty-five-song playlist that charts her beginnings right through to her most-recent album. If you are new to Morissette’s music, I urge you to listen and discover this fantastic and unique force. Listen to some of her interviews online and just listen to the way she speaks – so passionate and compelling. She is a hugely inspiring artist who has made a huge impact on music and continues to amaze. Today is a sunny and pretty hot day and, to round it off, I feel like everyone should play the Alanis Morissette playlist below and end it in style. Happy birthday to Alanis Morissette and let’s hope there are many more albums from the…

CANADIAN superstar.         

FEATURE: Artificial Flowers: Is the End of Morrissey’s Career Nigh?

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Artificial Flowers

PHOTO CREDIT: Getty Images/@officialmoz  

Is the End of Morrissey’s Career Nigh?

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THERE are some well-known figures who you can…

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 PHOTO CREDIT: Getty Images/@officialmoz  

always rely on to put their foot firmly in the mouth! Music is full of characters and those who are a bit outspoken but, when it comes to stirring real controversy and debate, Morrissey is pretty high on the list! It is not a particular good time in his camp right now. His covers album, California Son, has not received terrific reviews. There have been some scathing reviews but, among the less-venomous, this is what Pitchfork had to say:

“The choice between listening to a misanthropic relative telling you old stories they love or hearing them grouch at the news is a no-brainer, but that doesn’t make some of the sugariness easier to swallow: As hard as Morrissey tries, it’s difficult to enjoy a celebratory gambol with him down memory lane when it’s full of potholes. Perhaps unsurprisingly, it’s the gloomiest moments that come closest to winning you over, like when he turns Tim Hardin’s “Lenny’s Tune” into an exquisite elegy at a doomy cabaret bar, or when he makes Melanie’s “Some Say (I Got Devil)” sound like the darkly dramatic last stand of a vengeful titan. When you hear them, you could almost pretend it was the old days again, even though you know it can never be the same”.

It is not the most fertile and successful time of Morrissey’s solo career but, as he has been in the game for a long time, there are other albums ahead. It is not necessarily the quality of the music and his direction that is putting people off: it is his latest in a string of ill-judged moves that has courted a lot of reaction.

The Guardian take up the story:

 “These days, however, Morrissey prefers a different kind of onstage provocation. During a recent performance on The Tonight Show Starring Jimmy Fallon (and at a number of live shows in New York), the former Smiths singer sported a For Britain badge. For those unfamiliar with it, For Britain is a far-right political party. Even Nigel Farage believes it is made up of “Nazis and racists”.

Last year, his thoughts on #MeToo were no less inflammatory. Of Anthony Rapp, who accused Kevin Spacey of making sexual advances towards him when Rapp was 14 years old, he said: “One wonders if the boy did not know what would happen … When you are in somebody’s bedroom, you have to be aware of where that can lead.” Of the many female accusers of Harvey Weinstein, he said: “They play along. Afterwards, they feel embarrassed or disliked.” In today’s culture wars, Morrissey has clearly chosen his side – and there have been consequences. Posters for his new album, California Son, have been taken down by the train network Merseyrail. A guest vocalist on the record, Broken Social Scene’s Ariel Engle, told the Guardian she felt like she’d “been had” by the singer. A record store in Cardiff decided not to stockthe album, with its owner saying sales of his music had nosedived because “customers are saying they can no longer buy into his increasingly divisive politics, not even for ‘old times’ sake’”.

There is no denying that Morrissey knew what he was doing and was making a statement: that the country in which he lives is divided and, when people are choosing sides, his allegiance is with a far-right organisation.

Morrissey has never been afraid to speak his mind on a range of subjects; whether it is vegetarianism, politicians or the state of the nation. His latest move is not a wise or popular one and, when it comes to record stores around the U.K., our oldest has taken a stand. Stereogum reports how Spillers has stopped stocking Morrissey records:

“Spillers’ owner Ashli Todd told Wales Online, “I’m saddened but ultimately not surprised that Spillers is unable to stock Morrissey’s releases any longer. I only wished I’d done it sooner”.

That single quote is all you need to know: Morrissey is no longer welcome at Spillers and I would not be surprised to see other record stores doing the same – and boycotting his records in the future. We are getting used to Morrissey letting his mouth run away with him but I think you tolerate and accept a certain sense of outrage so long as he does not cross a line. That is a subjective measure but I think his ongoing support for the far-right is hard to come back from.

I know everyone is entitled to their political views but Morrissey’s defence of the far-right is not something that will give his fans heart. I have heard of people who once loved Morrissey soured by his continued controversy. It seems that, for many, he has pushed things too far and there is no real way back. One can also claim that, so long as the music is great, we can balance a bit of the bad into the equation. Even from the earliest days, Morrissey has provoked a certain fire but it seems, with age, there is no real limit to his ignorance and lack of judgement. It is surely very disheartening for his die-hard fans to see their hero tarred once more. One can hardly say Morrissey has been pressured and made a stupid comment he has since apologised for. His support of the far-right and figures like Tommy Robinson is something he believes in and has not apologised for. It has put his fans in a bad position. Do they continue to listen to his music or is it now too awkward and uncomfortable? It raises an argument regarding separating the musician from the music. I am a big fan of The Smiths and love Morrissey albums like Your Arsenal and Vauxhall and I. I can listen to his music but I would be reluctant to buy anything new from him. Also, regarding the man himself, I have lost an awful lot of respect and feel like Morrissey has tarnished his genius and brilliance.

 IMAGE CREDIT: Getty Images/@officialmoz

The Guardian piece I quoted earlier states that Morrissey is due for some criticism and investigation:

“It is hard not to agree that proper, forceful criticism of Morrissey is overdue. Yet perhaps it’s not surprising that many were hoping he was just, misguidedly, playing provocateur. In a piece for the Guardian in 2011, the author Sukhdev Sandhu wrote beautifully about how, as an “ordinary Asian” fan of the Smiths, the singer seemed to speak directly to him: “No one had ever come as close as Morrissey, the child of Irish Catholics, to expressing a poetics of second-generation migration. He sang about shame and unlovability; I had bloodied myself as a 12-year-old using a kitchen knife to scrape away what I saw as the tainting brownness of my skin – a brownness that made me only half a person, half the Englishman I wanted to be. He sang about loneliness and isolation; I was rarely invited to the homes of schoolfriends, and certainly never invited them to my mine, for fear that they would snigger at the photographs of turbaned relatives that lined its walls”.

His latest album shows that, for now at least, he does not hold a lot of sway and momentum. I do think it will take a lot of time before he is in the good books of fans and the media. Even if Morrissey does follow with an incredible album, are people going to disassociate his public persona with the man’s music? It does open up a debate but I think there is no denying that Morrissey’s popularity and appeal is waning.

I pose that question at the top of this article regarding Morrissey’s career and whether the end is coming. His loyal fanbase will always be behind him and it will take a nuclear bomb of controversy before they turn away. I think, for the rest of us, we cannot really overlook and forgive a man who supports division, racism and discrimination. His music will never go out of circulation but I think, now, he has lost the ear and respect of so many out there. I think all iconic songwriters should set a good example to the new generation but, with Morrissey backing right-wing politicians, should musicians aspire to be like the northern star? One cannot deny the strength of Morrissey as a lyricist but his ever-increasing sense of self-destruction and irresponsibility leads me to feel that he is not the sort of artist we should be proffering and putting on a platform right now. I do think that there is a sense that things have changed. Even if Morrissey produces a cracking album next, I think there is still that bad taste in the mouth that means fewer people will listen to and support his music. How many young fans will go and see him in concert – knowing his political allegiance – and, for those who do, will they be subjected to Morrissey’s unpredictable and often-erratic remarks?! One could and should never ban a musician and silence them but I do not think we can overlook Morrissey and what he is throwing out into the world right now.

If some long-time Morrissey fans are scrapping their membership, it seems that his former Smiths bandmate, Johnny Marr, is not concerned the music they left behind is going to be tainted. Metro report the news:

“But his former bandmate Johnny Marr isn’t worried about the affect Morrissey’s political leanings will have on The Smiths’ legacy. The guitarist and songwriter told NME: ‘I don’t think you can change history. I’ve said that before. I’m not worried. It’s got nothing to do with my world or my life. The songs are out there for people to judge, relate to and hear. I think that’s all going to be forgotten in a few weeks, as these things inevitably are – for better or worse. It’s always been that way”.

After comments regarding Kevin Spacey and Harvey Weinstein, Liverpool Rail removed posters promoting Morrissey’s latest album – something that the man himself was disappointed about:

“This led to Liverpool’s public transport network removing posters for Morrissey’s new album California Son, following complaints. Morrissey told Music News: ‘It’s very Third Reich, isn’t it? And it proves how only the feelings of the most narrow-minded can be considered within the British Arts. We are not free to debate, and this in itself is the ultimate rejection of diversity … I am afraid we are living through The Age of Stupid, and we must pray that it passes soon”.

Morrissey does not make things easy for himself but one can say that he has always been this way. Personally, I think Morrissey will always have a place in music – one cannot discount his legacy and what he has provided over the past three-and-a-bit-decades. I do think that, with a lot of former supporters looking elsewhere, many are fed up and have lost patience. I used to hold a lot of love for Morrissey but I feel, with every passing year, he is backing himself into a corner – one he will struggle to come out from. One wonders just what Morrissey will say next and what problem will arise. When an artist is in the press more for their remarks and bad sides – and less for their music – it does suggest that people’s patience is…

PHOTO CREDIT: Jake Walters

STARTING to wear thin.       

FEATURE: Life Thru a Lens: The Iconic Shots of Michael Putland

FEATURE:

 

 

Life Thru a Lens

IN THIS PHOTO: Bob Marley, Mick Jagger and Peter Tosh backstage at a Rolling Stones concert at the Palladium in New York on 19th June, 1978/ALL PHOTOS: Michael Putland 

The Iconic Shots of Michael Putland

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I was listening to Lauren Laverne’s show…

 IN THIS PHOTO: Michael Putland captures a smoking Marianne Faithfull in 1982

on BBC Radio 6 Music earlier in the week. She was speaking with the legendary photographer Michael Putland about his work and life. He claims to have never taken a day off during the 1970s and I could tell, when listening to their conversation, that the passion still runs deep. If you are unfamiliar man then, to get acquainted, let me introduce him to you:

“Born in 1947, Michael grew up in Harrow where he took his first pictures at the age of nine before leaving school at sixteen to work as an assistant to various photographers including Time-Life photographer, Walter Curtain and the legendary motor racing photographer, Louis Klemantaski. In 1969 he set up his own studio and by 1971, he was the official photographer for the British music magazine Disc &Music Echo. His first assignment for them that year was to photograph Mick Jagger in London.

From the editorial work for Disc and Music Echo, Sounds and later Smash Hits & Q magazine amongst others, to the 1973 tour with The Rolling Stones that led to a long-standing relationship working with the band, Michael has shot prodigiously including for major record labels including CBS, Warner, Elektra, Polydor, Columbia Records and EMI. Relocating to New York in 1977, it was here that Michael founded the photo agency, Retna which went on to become one of the most respected music and celebrity image libraries in the world.

Music photography has taken Michael around the globe touring with acts as diverse as George Michael in Australia & Japan, The Cure in Brazil, Eric Clapton in the U.S., The Stones as well as intimate shoots with artists at home: David Bowie painting his ceiling at Haddon Hall, John Lennon and Yoko Ono in the White Room at Tittenhurst Park, Roger Daltry in his Kitchen, Jeff Beck with his beloved hot rod cars, Billy Joel by the fire in Michael’s own apartment, Keith Richards at his Upstate New York farmhouse, Robert Plant at home in Wales … and being a music lover, Michael always enjoyed the privilege of sharing a recording studio with some of the great artists of the last 50 years from Paul McCartney, Stephen Stills, Rolling Stones, Marc Bolan, Yes and Dave Gilmour to Stephen Sondheim recording Elizabeth Taylor in ‘A Little Night Music’ and Stomu Yamashta with his percussive World Music.

It has been said that Michael photographed everyone from Abba to Zappa … when looking at his archive this is actually true.

Now living in East Sussex, recent exhibitions include “Off The Record” at The Lucy Bell Gallery in Hastings showing images both on and off stage including previously unseen contact sheets; Autumn 2014 saw Michael’s 50 year retrospective at the Getty Gallery in London: “A life in Music, 50 Years On The Road”.  whilst Ono Arte in Bologna, Italy has hosted a David Bowie show and ‘Glad to be Glam’ in 2018.

IN THIS PHOTO: Arun Gosh captured in 2016

2019 has already been a busy year with the launch of Michael’s 350 page photographic career book ‘The Music I Saw’ launched with an exhibition at Paul Smith shops in New York and London.

Michael continues to shoot the artists he most admires – likely to be jazz, classical and world musicians, who have always provided an alternative narrative to his rock music portfolio.

“It has been a fantastic ride through an incredible period of music history, which combined my two great loves … music and photography. Little did I appreciate, when my Uncle Alan encouraged my photography back in the 1950s, that this would lead me to photographing nearly all of my heroes … and thrilled to be still finding new ones. A great never ending journey.” Michael Putland”.

The reason I wanted to put Putland under the microscope is because, in an age of quick snaps and Instagram accounts, how much attention is paid to the music photographer?! Putland was saying, when speaking with Laverne, how things are so much harder now for photographers. When he started out, there was not all this technology; not everyone could do what he did and there were very few crutches. A lot of his shots, as you can tell from his website, are these perfect moments that seem to capture artists in their element. I do think many people take photographers for granted and assume that their role in music is minor. I have lied a bit about this being a bit random: Putland has a book out, The Music I Saw, that is well worth getting; it collects all his fantastic shots together and gives you a real sense of the man behind the lens.

 IMAGE CREDIT: Lullabit

I have so much affection for music photographers because they are charged with capturing artists in their prime; that rare shot that defines them or shows a unique side to them. It is not as easy as idly snapping and then sharing it with the world: so much skill and technique is required. The patience to get that exceptional shot is, well…you need a lot of it. I do think many assume that, in this age, anyone can do what a music photographer does – that couldn’t be further from the truth. The elder Putland is still shooting artists and provides incredible inspiration to those coming through. I think it is very hard in the industry. One cannot underestimate how difficult it is getting into photography but I would urge anyone with that spark to keep going and not give up.

There is less money available to photographers and, with so many people able to take their own pictures, where does that leave them? The thing is, the average musician/person cannot take a shot like a professional. I have had my photo taken by a professional and there is a lot of work that goes into a shoot. There is the need to set the mood and get the right setting. A lot of shots are taken and, as the photographer speaks with the artist, it is all designed to get them in the right frame – to capture that image that will live forever. Michael Putland, you can tell, had a great relationship with those he photographed. From Mick Jagger through to David Bowie, there is a glint in the eye and a trust; the knowledge that they were in safe hands and being guided by someone who had a deep affection for that. The trust between photographer and their subject is key – but it is more than that working relationship.

 IN THIS PHOTO: David Bowie at his home in Beckenham, South-East London on 25th April, 1972

Anyone, yes, can take a photograph but there is a naivety regarding the complexity of photography. That shot of Bob Marley, Mick Jagger and Peter Tosh in 1978 is a truly iconic shot – Putland’s favourite, as it is said – and unites three truly wonderful artists. The fact they were in New York at the same time is amazing but to get them into that one shot and make it look that good – you can tell how happy all three are! Putland captured David Bowie doing some D.I.Y. and he has shot artists on stage doing their thing. A photographer needs to match their subject with the scene; shoot something that nobody can and get them to feel relaxed yet real. It is hard, that: making sure the artist is not playing up for the camera but they are aware it is there. I see so many photos on the Internet and there are few that catch the eye. Conversely, there are some great music photographers emerging that are producing some truly wonderful shots. Whether they are band portraits or incredible live shots, they are proving how necessary they are and what talent is required. One has to consider so many factors when composing a photo and getting that right look. Michael Putland has been in the game for decades but he, like all the young photographers coming through, started at the bottom and learned his craft.

 IN THIS PHOTO: A relaxed Lizz Wright is captured by Michael Putland in 2016

The reason I wanted to write it (is) because Putland is a great reason for people to get into photography. I have included a few of his best shots in this feature but, in reality, there are many more. The man is a master when it comes to taking these big artists and making them feel relaxed; capturing them in a new light and revealing them to the generations. There are people who recall some of Putland’s best work of the 1970s but now, in 2019, there is a whole new wave of photographers who can learn a lot from the master. We are told – by those ignorant – that music photography is dying and pointless but, whilst it is hard to get into the business and earn money from it, I feel the results are priceless. Classic shots last forever and musicians always are on the look-out for great photographers. Marrying the artist with the photographer is a beautiful union and now, more than ever, music is a visual medium. Michael Putland spoke with Lauren Laverne and did express his sympathy with those starting in a tricky business but he also talked about the wonders of photography. I feel too many people listen to music and never really think about the artist behind the sounds. I think music is and always has been reliant on visuals and photography. It tells a story and, when you see a wonderful photo, it gives you such an insight into an artist.

 IN THIS PHOTO: Mick Jagger alongside his wife Bianca Jagger in Berlin on 20th October, 1973

Michael Putland is definitely one of the finest music photographers ever and the reason he is so famed is because of his dedication and passion. He has experienced tough times but, as he said, he was a busy boy in the 1970s! Always on the hunt for a great photo, the man captured some of the biggest names of the day. He was (and is) not in it for the fame and celebration: rather, it was about bring something from the artist nobody else had seen; nothing that we could detect from the music. His warmth, humour and kindness put musicians at ease but the sheer determination and talent he had ensured that, time and time again, the world was given these rare and wonderful shots! I do think that, the more artists that come through, the more we need photographers. I know some great photographers but there are others that are wary. It is a tough time for venues and the industry in general but I do think one can start modestly and make a success of things. They might need to start at the ground-level and work their way to the bigger leagues. Photography is a tough profession but it is endlessly rewarding. The reward of capturing a fabulous shot and seeing that work preserved for years is beyond comparison. Maybe it will take a while but, for those with desire and patience, there is no reason they cannot reach the same level as Michael Putland. Still shooting after all these years, it is amazing to look at his work and marvel at the brilliance on display. For anyone doubtful about being a music photographer, take a look at some of Putland’s work and realise what can be when you and the artist are…

 IN THIS PHOTO: Bryan Ferry (Roxy Music) with backing singers Jacqui Sullivan (left) and Doreen Chanter in London in October 1975

BLENDED in perfect harmony!          

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Wildwood Kin 

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

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AS the sun is blazing...

IN THIS PHOTO: Before Breakfast

it is a good time to get some more female-led sounds out there. I can guarantee there is plenty of heat in the mix but, if you want something more cooling, you have some options for sure! I have been hunting down some fresh sounds and have compiled them in this pretty fulsome playlist. It is a real sunny and bright day so, if you need some music to accompany your travels, this one should be near the top of the list. There are some great artists in the mix and some that, I am sure, will be big names very soon. Make sure you dive into this new edition and discover some pretty epic songs. Whilst we have the sun and heat here, use the opportunity to pick some of the songs from the list below and…

IN THIS PHOTO: Cleo Sol

CARRY them with you.

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

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PHOTO CREDIT: Athena Kulb

Holly Redford Jones - Bonjour Madame

PHOTO CREDIT: Sebastian Furtado

Andrea Piperni – Instinct

PHOTO CREDIT: Marieke Macklon Photography

Litany – My Dude

Wildwood Kin – Never Alone

Before Breakfast – Buddleia

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Delilah Montagu - Gold

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King Princess – Cheap Queen

Hanne Hukkelberg - Crazy

Molly Kate Kestner – My Way Up

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XYLØ - yes & no

Cleo Sol - Sweet Blue

Rothwell – Quarter Life Crisis

Childcare – Bamboo

Ingrid Michaelson - Jealous

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Joy Crookes – London Mine

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I See Rivers – Helios

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Cosmo Gold - Drown the Fly

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Lucy Booth – Butterfly

Sasha Sloan – Thoughts

Zhavia Ward – 17

Las Aves - A Change of Heart

Mia Martina – Different Kind of Love

Nasty Cherry – Win

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Call Me Loop – Forget You

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Mia Milla – Little Red House