FEATURE: Born This Way: The Pride Playlist

FEATURE:

 

 

Born This Way

IN THIS PHOTO: People united for the 2019 World Pride NYC and Stonewall 50th LGBTQ Pride parade in New York/PHOTO CREDIT: Reuters 

The Pride Playlist

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I put together a Pride in London playlist last year...

 IN THIS PHOTO: Scenes from last year’s London Pride/PHOTO CREDIT: Getty Images for Pride In London

and brought together some classic cuts. Those across the L.G.B.T.Q.I.A. spectrum are united in London and it is a great day out there. I have been travelling around London and there is a lot of happiness, colour and togetherness. There is a lot more to come today and, if you are in London, you will see the crowds together; everyone with banners and the people in step. It is rare that we see this sort of mass descend on London for such positive reasons. It is, as this report from The Evening Standard shows, a year when we celebrate but also mark fifty years since the Stonewall uprising

“As many as 1.5 million people will descend on London today for what is being hailed as the UK’s biggest and most diverse Pride parade yet.

Those taking part will celebrate 50 years since the Stonewall uprising in New York, a moment which changed the face of the gay rights movement around the world.

Parade groups will honour five decades of activism, protests and victories, and those behind this year's march have said it is an opportunity for people to stand up against bigotry and hatred in all its forms.

From midday on Saturday some 600 groups, a 25 per cent increase on last year, will march through the capital's streets for the annual burst of colour, music and dance.

PHOTO CREDIT: Getty Images 

This year's parade is aiming to champion diversity, with the introduction of a new World Area at Golden Square in Soho, in a bid to increase the visibility of black, Asian and minority ethnic (Bame) LGBT+ people.

The event also has improved accessibility this year, including viewing platforms for the Trafalgar Square stage, sign language interpreters and captioning for all performances across two large screens, and accessible, gender-neutral toilets.

It is an important year for sure and it makes me wonder whether we have progressed. In terms of music, there are some fantastic L.G.B.T.Q.I.A. artists but one feels that their path to mainstream is not as smooth as it should be. There is a lot to unpack and discuss in the music industry regarding equality and visibility but, with this Pride celebration being so huge and timely, I do hope change and progression comes into music. Today is all about togetherness and pride, and so, I am focused on some great Pride anthems. From the classics through to those outsider hits, here are some great tracks that will soundtrack…

 PHOTO CREDIT: Getty Images

UNLIKE anything else.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kara Marni 

An All-Female, Summer-Ready Playlist (Vol. III)

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TODAY is Pride in London…

 IN THIS PHOTO: Gabriella Cilmi

and I will put together a Pride playlist very soon. Right now, I want to collate some of the best female-led songs of the last week (a few are a bit older). In this selection are songs from various different corners of the musical landscape. It is another busy, exciting and varied week for music and, as you can see from the selection below, these songs are perfect for the warm weather we are having. The songs will get you in the mood and bring the energy. Have a listen at the wonderful artists below and, on this day of unity, awareness and pride, here are some tracks that will…

IN THIS PHOTO: Brooke Candy

BRING a smile to your face.

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

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Jade Monet – Pineapple

Jess Thristan – The Old Man

Emma McGrath - Other Side

IN THIS PHOTO: Maliibu Miitch

Brooke Candy (ft. Charli XCX and Maliibu Miitch) - XXXTC

Lily Moore – Over You

BABYMETAL – Starlight

Kara Marni – Opposite

Jesca Hoop – Footfall to the Path

Blithe – Masochistic

Talulah Ruby – I Don’t Feel Like Me

Lily Mckenzie – Emotions

Au/Ra – Dance in the Dark

Ward Thomas – Breathe In

IN THIS PHOTO: Bree Runway

Bree Runway (ft. Brooke Candy) – Big Racks

Heather Findlay – Southern Shores 

laye – sicker 

PHOTO CREDIT: Pierre Toussaint

Olympia – First You Leave

Empress – Lovely I Am

Skunk Anansie – What You Do for Love

Vera Blue – The Way That You Love Me

Gabriella Cilmi – Ruins

PHOTO CREDIT: @meg.lavender

Tiiva – Make Me Pure

PHOTO CREDIT: Jordyn Taylor-Robbins

Sarah Jickling and Her Good Bad Luck - Saint

IN THIS PHOTO: Sarah de Warren

Sarah de Warren, Rodg - Fading

PHOTO CREDIT: Patrick Walker

Atelier Blue – Empty Lungs

CAGGIE – I Wish You Knew

Magdalena Bay - Mine

Empara Mi – Ditch

SIA BABEZ – Hit My Line

FEATURE: The July Playlist: Vol. 1: When the Time Is Right, I Guess…

FEATURE:

 

The July Playlist

IN THIS PHOTO: Sam Fender 

Vol. 1: When the Time Is Right, I Guess…

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THIS is, again, not one of those weeks stuffed…

 IN THIS PHOTO: Jesca Hoop/PHOTO CREDIT: Laura Guy

with huge releases and artists but, looking down the list, there are plenty of terrific songs to enjoy. It is a good weekend, what with Pride in London, and there is a lot of energy in the air. The weather is great and, for that reason, embrace the best new music around. We have tracks from Sam Fender, Jesca Hoop and The Futureheads in the pack. It is a pretty good selection and I think you’ll find something in there to love. New music goes through cycles and there is no telling what one week will provide – and how much different it is the next week! Whether you are in town and on the go or settling down for a quiet weekend, take these songs with you. Whether you want something urgent and raw or something a bit more chilled and collected, I think you will find what you need…

RIGHT here.  

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

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Sam Fender – Will We Talk?

Bat for Lashes – Kids in the Dark

Ty Segall – Radio

Of Monsters and Men – Alligator

Jesca Hoop – 01 Tear

Michael Kiwanuka, Tom Misch – Money

Ride – Repetition

Mahalia (ft. Burna Boy) - Simmer  

PHOTO CREDIT: Keith Klenowski

Daughter – Poke (from Tiny Changes)

The Futureheads – Good Night Out

Redondo Red - Dancing Dogs

IN THIS PHOTO: Brooke Candy

Brooke Candy, Charli XCX, Maliibu Miitch - XXXTC

Lethal Bizzle – Woah!

Skunk Anansie – What You Do for Love

blink-182 – Happy Days

Olympia - Come Back

Press Club – Thinking About You

PHOTO CREDIT: Peter Lindbergh

ROSALÍA – Milionária

Snow Patrol - Time Won’t Go Slowly

PHOTO CREDIT: Nick Mckk

The Teskey Brothers – So Caught Up

Belle & Sebastian - Sister Buddha

Marshmello – Proud

Emma McGrath – Other Side

Kara Marni – Opposite

Bonobo – Linked

CAGGIE – I Wish You Knew

Ward Thomas – Breathe In

Lighthouse Family – Blue Sky in Your Head

Chrissie Hynde – Que Reste-t-Il De Nos Amours?

Louise – Lead Me On

Gabriella Cilmi – Ruins

TRACK REVIEWS: ROSALÍA - F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero)

TRACK REVIEWS:

 

ROSALÍA

F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero)

9.6/10

The tracks, F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero), are available via:

https://www.youtube.com/watch?v=eQCpjOBJ5UQ

GENRES:

Flamenco-Pop/Art-Pop

ORIGIN:

Barcelona, Spain

RELEASE DATE:

3rd July, 2019

LABEL:

Columbia Records

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THIS is a bit of an unusual…

review for me because I am tackling two different songs. To be fair, both are pretty short and they form a sort of concept. ROSALÍA is a fantastic artist who has just dropped a double-video for a project entitled F*cking Money Man. The visuals are accompanied by two songs and, whilst I could not split them up, it does bring me to a few interesting subjects. I want to talk about ROSALÍA in the context of daring artists and female artists who are really starting to strike; the different flavours of Pop and why we should not instantly write the genre off; those fighting for equality and the artists who bravely pioneer; a bit about last weekend’s Glastonbury and why ROSALÍA is a potential headliner – I will end by seeing where the Spanish-born artists might head next. It is actually quite unusual to see a Spanish artist near the mainstream and being talked about a lot. That is no disrespect to Spain and its musical output but I do feel like, maybe, Spain still fosters U.S. and U.K. sounds and there is no quite the same proliferation of artists we have here. Perhaps it is because more traditional Spanish sounds are not as integrated into the mainstream as they should be – perhaps it is something else. I do think we look at nations outside of the U.K. and U.S. and feel they lack the same promise and scope. I recently wrote a review where I expounded the brilliant Australian artists around and I think there are more great artists in Spain that are waiting to come through – the likes of ROSALÍA will act as a guide and inspiration. It is no surprise we are a bit blind to other nations because I think, even in 20019, we are still too reliant on the same sort of music and sources. Maybe we get it into our head that Spanish music is going to be World music: we are not aware of the fact there is Pop, Rock and other genres in the country being represented by some great artists.

I think the industry does need to incorporate some new flavours and tones in order to make it more exciting and promising. I have strayed a little from what I was going to say but, when it comes to ROSALÍA, there is so much to investigate and unpack. She is an artist who, like her boldest peers, is turning heads right now. I do feel like there are so many artists around right now that lack the necessary drive and punch to really settle in the mind. I hear so much generic Pop and lacklustre music; it does start to get boring and you yearn for someone who has that passion and sense of independence. I still feel the mainstream is too generic and the less soulful and meaningful Pop music holds too much power. Consider what those artists offer to the world. A lot of the lyrics on display are pretty formulaic and staid; many of the compositions are plastic and processed and the vocals lack soul and requisite appeal. It is a shame that a more commercial and easy-going Pop vibe is still ruling over everything else. I am seeing some changes come through. The fact that we have artists like ROSALÍA making waves and coming though means, I hope, the scene will break up and diversify very soon. I will mention Glastonbury in a bit but, when watching the coverage from last weekend, it was defined by strong female artists who, before, had not been given the credit they deserve. I loved what Miley Cyrus was doing and Billie Eilish had the crowd spellbound. It was a festival defined by strong and bold women emerging and captivating. I do feel like, in future years, we will see this trend continues and, in terms of the sound of the mainstream, artists like ROSALÍA are ready to shake it up. I am going to bring in a couple of interviews she has given because, when you read the extracts, you get a sense of someone who does not follow guidelines and really wants her music to stand out.

 PHOTO CREDIT: Roger Kisby for Rolling Stone

Just look at her new piece: Is F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero) a suite of songs or a double A-side? Is it a political statement or personal revelation? I do feel like there is much formula and marketing with modern music. Artists are too keen to stick to a pattern and not break from that. Looking at ROSALÍA’s latest tracks and we have someone who is certainly doing her own thing! I think the most interesting and exciting music being made right now is coming from female artists. I confess there are some great male acts doing their thing but when I consider all the best new sounds around, they are emanating from women. Look at what ROSALÍA is doing with Pop music right now. I mentioned Spain and, as ROSALÍA is Catalan-born, it is inevitable that sounds and flavours of her upbringing and home are going to show themselves in the music. That is not to say that there is a cliché vision of Spain in her work. Mixing in Flamenco and other genres, we have this original blend that is both cool and fresh but it has definite heat and intensity. Consider, too, what I was saying about modern Pop and the fact it is quite stale and machine-like. I hear so many songs that sound exactly the same and it seems rather pointless when you consider it. There is nothing wrong with commercial Pop but, if artists are not bringing something new to the table, the mind is going to look elsewhere. ROSALÍA has that blend of her native Spain but there are so many different colours and tones working through her music. What we get is something both daringly strident and accessible. Like Billie Eilish, ROSALÍA is remarkably accomplished and confident for someone so young. There is not this feeling (with ROSALÍA) that she needs to write about love and the same themes to attract attention and get acclaim. Sure, she has experienced heartache but that is not what drives her consciousness. Her new project is about money and the different sides of it; the greed and corruption that come with it and a sense of extravagance.

I do feel like we all get this idea of modern Pop and what it is all about. I have said how we should not dismiss it and associate it with negative impressions. The commercial artists who seem unable to project any personality and talent onto the page are the ones who are keeping this stereotype alive. Listen to ROSALÍA and Billie Eilish; take a listen to Lizzo too. Whilst these artists bring other genres together, they are very much at the forefront and gaining universal acclaim. These artists are talking about serious and less commercial ideas; they are splicing sounds together and delivering incredibly powerful music. Pop has been in a dire state for a few years now and it has been a while since there was this incredibly rich and promising mainstream. I do feel like there is a revival happening. Being led by brilliant artists like ROSALÍA, there is a lot to get optimistic about! What I love about modern Pop is the fact there is variation coming in. There are many reasons to love ROSALÍA’s work but one has to admire the boldness of her sounds and themes. F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero) captures you because it is slinky and cool but there is this cutting edge that keeps the song brash and alert. One can lose themselves in the song and does not need to speak Spanish to appreciate the brilliance of the music. In fact, she is actually singing in Catalan on the songs. How many modern artists do we hear that are singing in Catalan? Definitely, in Spain there are many but do we have this fear that, if a song is in a foreign language, it will not resonate and remain in the mind? I will explain the songs in more details soon but it is clear ROSALÍA is doing things differently and is a step ahead of her peers.

There is a lot to love about ROSALÍA but I especially admire her determination and independence. I want to bring in an interview from THE FADER that sort of underlines what I mean:

“Rosalía doesn’t like not being able to do something — and if anyone has said “no” to her in the last two years, it’s hard to tell. During that time, the 26-year-old has evolved from a budding flamenco vocalist in her native Spain into an international pop star and genre rebel, one who’s collaborated with James Blake, appeared on Kourtney Kardashian’s Instagram, taught Alicia Keys Spanish, and hung out with Dua Lipa at awards shows.

“I understand that a lot of people can’t connect with my music, because it’s a radical proposal and a personal proposal,” Rosalía says of her hybrid of flamenco elements and sparse electronics. “There will be people who can connect with it, and many that can’t. I understand the risk I take in making these decisions with my music.”

It wasn’t until Rosalía was 13 that the arrow of flamenco pierced her. It happened one day when she was hanging out by her school and heard a nearby car blasting a song with melismatic vocal runs and rhythmic palmas hand-clapping. “From the beginning, I knew,” she says, resolute and staring directly into my eyes. “I realized, This is my path.”

Rosalía knew very little about flamenco, a style of music and dance born out of the intermingling of Castilians, Moors, Sephardi Jews, and the Romani community in Southern Spain and codified in 19th-century Andalusia. She didn’t know about the sentimental howls of flamenco’s cante jondo style or its frantic zapateado footwork. But that didn’t matter. “It’s something I felt was important to my journey,” she says”.

There is no denying ROSALÍA is taking a few risks, I guess, in regards the personal aspect of her music and the fact that Catalan features. I feel she is being a bit hard on herself because, the more you listen, the more striking it becomes. Yes, the songs are quite challenging and new but it is quite easy bonding with them and admiring what ROSALÍA is doing.

ROSALÍA is someone who fights for equality and does not want to rest until there is balance in the industry. This year has been defined by female artists and the music they are producing. I think there is still a way to go before there is equality but, in studios and behind the scenes, there is this disparity that needs correcting. I want to bring in another interview where ROSALÍA discussed her start in music and then talked about gender disparity in the industry:

“How did you first get into making music?

Rosalía: Since I was a young girl, I have always felt a strong connection to music, in a natural way, without hesitation. I remember myself as a little girl dancing and singing around the house most of the time. When I was around ten, I decided I would devote myself and my life to music.

Barcelona is an open and multicultural city. It’s brimming with a very special creative energy. If you pay attention, you may be easily inspired by the places and people living there. I met my flamenco singing teacher in this city. He suggested I started a degree in music, and I had the opportunity to study and share eight years of my life with him in this city. El Raval, Poble Nou, or Gràcia have been essential spots where I have developed my music career.

For me, your music is about independence, especially from men. Is that how you see it?

Rosalía: The way I make music reflects the way I think. I’ll never get tired of fighting until I see equal numbers of men and women in a recording session, you know? In the studio, on the stage to companies. I’ll fight until all those women are given the same value as naturally as it is given to men”.

I do feel like 2019 is a year where female artists are speaking out more and looking to change things very quickly. In terms of music, the likes of ROSALÍA are pioneering and asking for improvement in music.

ROSALÍA will act as a role model, not only for women in music right now but for the new generation who are looking around and wonder whether women will be on equal footing with men. I do think men in the industry are not doing enough to make changes and ensure there is balance in studios and in the forefront. Maybe this will change but it is women in music doing more of the heavy lifting compared to the men. I will come to the songs in question in a bit but, before moving along, it is worth tracking back to last weekend’s Glastonbury and the fact ROSALÍA performed a blinding set. You can listen to an example of her Glastonbury set here - and you can see the impression her music had on the audience. She was mixing Catalan with English and her set was a nice balance of the sensuous and the stirring. It was a physical performance but there was this accessibility that provides sunshine, coolness and something very alluring. The songs connected instantly and, in terms of performance, ROSALÍA proves she is fully able to handle the big stages. I do think she is a possible Glastonbury headliner. Some might say she is a bit new and it will not work out so quickly but consider the likes of Stormzy – who headlined the Friday at Glastonbury – and he pulled off a remarkable set. In any case, ROSALÍA is a fantastic proposition and there is a lot to unpack when it comes to F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero). Rather than release a conventional single, there is this pairing of songs that investigations money and greed. From investigating gameshows and that frantic grab for money the poisonous aspect of cash, these songs are very timely and highly-charged. One feels like she is taking a shot at the U.S. and the greed of Donald Trump but ROSALÍA is looking at the wider world and how money rules everything.

From the first notes of Milionària, you are hooked and realise this is a very different artist to what is out there at the moment! ROSALÍA comes to the microphone and there is this instantly sense of authority and coolness. There is this big beat behind her and slinky electronics that gives the song a brilliant shake and rhythm! You are helpless to resist the fire and intoxicating sounds emerging but, it is ROSALÍA’s voice that resonates most. Before the chorus kicks in, ROSALÍA casts herself as this millionaire; someone who is traveling from Mumbai to Malta and, it seems, money is no object. She wants a couple of different Bentleys and there is this aspiration to be rich and not have to worry about things – she cannot have this until she gets a windfall. One might look at the song and feel like it is a young Pop artist yearning for fame and chasing something glamorous but, in reality, this is a look at vacant figures and the wealthy that do not see the struggle around and do not understand the true value of money. We hear plenty of songs where money is idolised and seen as this great thing but one senses ROSALÍA growing weary of those types who post snaps on Instagram and boast about their wealth. There are dollar signs in her mind and, whereas many of us are content with what we have, the heroine wants more and more riches. Every day, it seems, is her birthday and she can have leopards running through her garden; she can buy fine art and go wherever she pleases.

Whereas some artists might write about money in a very cliché and vacant way, there is a lot of nuance in Milionària. The coda of “F*cking money man” makes you wonder whether she means that in a rather casual and boastful way (put a comma after the ‘money’ and it has a more laidback vibe) or whether it is angered and bold – like she sees all this wealth and how it is corrupting people. That idea of chasing cash and having all this stuff you do not need builds very vivid images. Among the list of dreams/acquisitions – a yacht and star in her name; employing a kid to open her Christmas presents – there are so many big prizes and dreams that many people have. You feel that Milionària wags its finger at those who chase something empty and use their money to suit themselves and not change the world. In the song, ROSALÍA casts herself as the spoiled and money-chaser but one can tell that this life is something that she fears and hates. In terms of who the song is aimed at, maybe it is aimed at celebrities and those who so many people hanker after but, to me, it is a look at the world in general and how there is so much greed and wasted wealth. It is a truly fascinating song and one anyone can get behind. The fact the song is sung in Catalan should not put people off because, not only are there translations to the lyrics online, but the sound of ROSALÍA singing in her native song gives the song a romance and quality it would not have were it sung in English.

After Milionària and its talk of big-money spenders and those who chase after needless purchases, Dio$ No$ Libre Del Dinero is a more cautious and fearful song. The former song is about greed and people chasing dollars but, on the accompanying cut, the singer is asking God to free her and the world from the grip of money and how it corrupts people. Not only do we get two different sides to money but the tone is very different between the tracks. The former is a more spirited and fired-up song where Dio$ No$ Libre Del Dinero has more sadness and emotion on its breath. The track is gorgeous and imploring and, whilst it is hard to source English lyrics online, one enjoys the performance and the sheer potency of ROSALÍA’s voice. It is such a mesmeric instrument that gets into the head and provokes images. No$ Libre Del Dinero is ROSALÍA at her peak, I feel. It is a very short song that lasts less than two minutes but it packs so much in. The vocal weave and sound is incredible and you are spellbound by this very graceful and beautiful sound. The lyrics, as I understand, are much more cautious and wary than the vocal would have us believe. ROSALÍA is concerned about money and how it seems to dominate people; how it can corrupt nations and lead people astray. I do feel like Pop music is too beholden to formula and tradition and few artists are breaking away from that.

In the space of two songs, we have two very different stories around money. One can listen to both songs at the same time – both are part of this F*cking Money Man theme/concept. I do love both tracks and feel like they are powerful, incredible moving and memorable works. ROSALÍA shows she is one of the finest and most promising artists in music right now. Even if you not behind the lyrics and following them, the music and vocals will definitely connect. From the sunnier and more rousing spirit of Milionària to calmer and more cautious sound of Dio$ No$ Libre Del Dinero, ROSALÍA covers all the bases. I cannot wait to see where she goes next and whether we will get more releases like this in the future. It is clear that, the more she performs, the more confidence she accrues. It is scary to think how far along she will be this time next year considering the progress she has made in the last couple of years. If you have not listened to ROSALÍA’s previous work then do go back as well and discover so many wonderful, instantly memorable songs that will be in your mind for a long time to come!

I love the fact ROSALÍA can write a song where there are dangerous spiders, dangers and weird gameshow obstacles in the way! So many modern songs are predictable and concentrate on love and relationships. ROSALÍA has presented something a lot busier, more exciting and deeper than all of that. We see money every second of the day on screens and advertising billboards. I do feel like the importance of money is causing a lot of misery and divisions around the world. We all want more money but we look at big celebrities and figures that have a lot and aspire to be just like them. In many aspects, ROSALÍA is sending a message to those who aspire to that sort of life. That desperation to be famous and rich; the money dominates is put in the spotlight. Whether directly attacking politicians and businessmen or taking a shot at money and greed in general, ROSALÍA has created a very impressive feat with F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero). There is a sense of exasperation and anger in her voice but, this being ROSALÍA, she is trying to change the world and raise awareness. I shall leave things alone soon but I recommend people go and see ROSALÍA is they can. Check out her social media channels and, if she is playing near you, go and catch her! ROSALÍA is a stunning live performer and her songs are amazing. Her 2018 album, el mal querer, was lauded because of its freshness and memorability.

I am not sure whether there are plans for more music soon but make sure you check out what ROSALÍA has produced so far. She is an artist who will go very far and has many years ahead. I am captivated by everything she does and think that, in a few years, she might well headline Glastonbury. ROSALÍA is a role model and an artist that is not following the pack. Her songs are so addictive and powerful that it is hard to turn away and pass them by. Not that you’d want to because, after one listen of a track like Milionària and you want to go back for more. My next review will return to the single song but, as I could not separate Milionària + Dio$ No$ Libre Del Dinero – and they are part of F*cking Money Man -, that is the way things have to be today. The fact ROSALÍA has released two videos and not just been beholden to a traditional single shows that she is always pushing ahead and doing what she feels is right. Check the video(s) and you can see how much the visual nature of music means to ROSALÍA. This is a complete artist and someone who is going to go a very long way. Do not pass her by and, with new cuts out in the world, ROSALÍA is going to be on many…

PEOPLE’S lips.

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Follow ROSALÍA

 PHOTO CREDIT: Berta Pfirsich

Facebook:

https://www.facebook.com/rosalia.vt/

Twitter:

https://twitter.com/rosaliavt

Instagram:

https://www.instagram.com/rosalia.vt/

YouTube:

https://www.youtube.com/channel/UCQt9awGIFZeldFsATZNeJag

Spotify:

https://open.spotify.com/artist/7ltDVBr6mKbRvohxheJ9h1?si=PBZ_wdfAQb62it5KzA-IsA

ALL UNCREDITED PHOTOS:

Getty Images/ ROSALÍA

FEATURE: The Misunderstood Child: Kate Bush’s The Dreaming

FEATURE:

 

 

The Misunderstood Child

PHOTO CREDIT: John Carder Bush 

Kate Bush’s The Dreaming

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IT is interesting looking at Kate Bush’s career...

 IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Guido Harari

and how she went through these different, remarkable phases. The Dreaming is an album that split opinion when it was released. Fans who really got what she was doing loved the album – Bush experimenting and taking control of production – but many critics were not a fan of the shifting moods and the sense of the eccentric. To be fair, she hinted in the direction of The Dreaming’s sound on the previous album, Never for Ever. I do feel like 1982 – when The Dreaming was released – was a key year when Bush had been working with other producers and felt, more often than not, a cog rather than the person controlling the machine. 1980’s Never for Ever was a success and contained incredible singles such as Babooshka. It was a bold step from her previous album, Lionheart (1978), and we were seeing this confident and extraordinary artist growing and spreading her wings. One of the reasons The Dreaming gets negative press from some is because of the sheer intensity of the music. Whether it is the rush of Sat in Your Lap, Get Out of My House or the sense of heartache in All the Love – it is an album that consumed a lot of Bush’s time and energy. In 1981 and 1982, Bush was working hard on the album and, with newer technologies such as the Fairlight at her disposal, it gave her music fresh possibility and horizons.

If previous albums were more accessible and straighter, The Dreaming was Bush taking everything in; ranging from songs about aboriginal Australians (The Dreaming), crime capers (There Goes a Tenner) and escapology (Houdini). Taking on production responsibilities, Bush was working all hours and, to be honest, her health and well-being sort of took a beat-seat to the demands of the music. Her diet was not great and she was threatening to burn herself out. One can hear every morsel and ounce of Bush in The Dreaming. Upon its initial release, there was a mixed reception. Some were confused by the experimental tracks and how there was not a cohesive, singular sound. Others struggled to get behind the different sounds and instruments played – The Dreaming was definitely a busy album! Prior to The Dreaming, there was this feeling that Bush was being controlled to an extent; she was not 100% happy with her work or, at the very least, wanted to have a greater say. She wanted a rawer sounds that, whilst it was shaping up in Never for Ever, it was fully realised through The Dreaming. I think The Dreaming is one of Bush’s most exciting, varied and rewarding albums. There is this split between spiritual desires and the quest for love; songs about history and a sense of the classical and a great balance between fun and serious – the track order is perfect as to allow the listener breath when needed. Maybe critics were looking for a hit like Wuthering Heights or Babooshka: The Dreaming does not boast anything like that.

Those who are a bit unsure of The Dreaming highlight how much of a shift there is from Never for Ever in terms of songs and the general tone. EMI were not thrilled The Dreaming took two years to see the light of day (that was considered a long time back then!) but look at artists today and how long they take between albums – and how the resultant release is not nearly as striking and busy as The Dreaming. This review from Pitchfork highlighted how The Dreaming was a turning point for Kate Bush; a stunning work that is much less about commercial sense and more of a truly personal vision:

“The Dreaming was a turning point from Kate Bush, pop star to Kate Bush, artist: a fan favorite for the same reason it was a commercial failure. Part of the Athena myth around Bush is that she arrived to EMI at 16 with a huge archive of songs, and from this quiver came most of the material for the first four albums. The Dreaming was her first album of newly composed work and for it, her first real chance to rethink her songwriting praxis and to produce the songs on her own. Using mainly a Linn drum machine and the Fairlight CMI—an early digital synth she came to master in real time—she cut and pasted layers of timbres and segments of sound rather than recording mixing lines of instruments, a method that would later be commonplace among the producer-musician. At the time, it was still considered odd, especially for a first-time producer, and especially for a young woman prone to fabulous leotards.

IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Steve Rapport Photography 

All this excess is her sound: a strongly held belief that unites all of the The Dreaming. Nearly half of the album is devoted to spiritual quests for knowledge and the strength to quell self-doubt. Frenetic opener “Sat in Your Lap” was the first song written for the album. Inspired by hearing Stevie Wonder live, it serves as meta-commentary of her step back from the banality of pop ascendancy that mocks shortcuts to knowledge. A similar track, “Suspended in Gaffa,” laments falling short of enlightenment through the metaphor of light bondage in black cloth stagehand tape. It is a pretty queer-femme way of thinking through the very prog-rock problem of being a real artist in a commercial theater form, which is probably why it’s a fan favorite”.

The Dreaming was the lead-up and first signs of what Hounds of Love would contain. After The Dreaming’s release, Bush moved to the countryside (and away from London); she took up dance again and changed her diet. She set up her own studio and, in the idyllic surroundings, created this masterpiece that is considered her finest work. There were reservations among those at EMI whether Bush should produce another album. Given the fact The Dreaming was not a huge commercial success and took a while to arrive, there were raised eyebrows – she proved everything wrong when Hounds of Love arrived in 1985.

 IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Steve Rapport Photography

I think The Dreaming is vastly underrated because it is crammed with texture and sounds. It is a busy album but one that never overwhelms and pushes one away. So many albums fall flat after a few listens but The Dreaming is one that unfurls and reveals new beauty after a few plays. Songs like Houdini are lush and graceful - almost classical and traditional -, whereas Sat in Your Lap and The Dreaming are more frenetic and charged. Bush married the technology and breakthroughs of the early-1980s with something more traditional and sparse. Listen to the real thrill and scares one hears on the album closer, Get Out of My House. This house, as Bush says, contains her mistakes and madness. Bush said The Dreaming was sort of her going a bit mad so, in a way, the closer seems like a perfect distillation of The Dreaming: the madness and intensity demanded but such confidence, talent and originality. Bush could have released something commercial that pleased the label but, instead, we have this very modern-sounding (it still sounds modern today!) record that was the work of an artist pushing boundaries and challenging conventions. Look at other albums released in 1982 – including Michael Jackson’s Thriller and ABC’s The Lexicon of Love – and there was nothing like it around. In terms of Pop, Madonna was emerging and would release her eponymous album the following year. The likes of Duran Duran and Yazoo were in the charts in 1982 so one can understand why critics were a bit taken aback by The Dreaming!

Many had followed Bush closely in 1978 and maybe were not expecting a leap like The Dreaming. Bush won back many with Hounds of Love and, without The Dreaming, Hounds of Love would not have happened. That may sound obvious but I mean Bush was moving away from convention and other producers; she was assuming more responsibilities and, whilst The Dreaming took a lot out of her, you can tell this record meant so much to her. This is the always-curious and ambitious artist letting her imagination run wild. In 2019, can one say we have any albums out that are as daring and bold as The Dreaming!? Sure, there are great albums around but nothing quite as eye-opening and hypnotic as Bush’s fourth. I think The Dreaming is one of those albums that took a while to resonate and win favour; modern critics have been kinder and underlined its importance. Drowned in Sound, back in 2016, had this to say:

“Perhaps the greatest joy of the record, though, comes from immersing yourself in the narratives that Bush presents, and realising how her words and the music have a symbiotic, almost dependent relationship. The Ninth Wave (her conceptual mini-record about a person drifting alone in the sea at night that formed the second side of Hounds Of Love) would later demonstrate that Bush could write a beautiful, focused narrative over the course of song cycle. But the individual tracks on The Dreaming show off some of Bush’s most fascinating short stories, spanning an ambitiously large range of subjects – it’s at times difficult to believe that she suffered from writer’s block.

The Dreaming is therefore tirelessly imaginative, asking the listener to submerge themselves in a wealth of illusory and semi-fictional realms. But it’s also remarkable for what happened behind the scenes as well. Bush had made steps into production before, on the EP On Stage and on Never For Ever, where she was aided by engineer Jon Kelly. Here though, she took the bold step to produce the entirety of the album alone. While she did collaborate to some extent with a few engineers (such as Nick Launay, who had previously worked with Public Image Ltd and Phil Collins), the control that Bush had on the record is plain to hear at every twist and turn. She extensively made use of the Fairlight CMI – one of the earliest workstations with an embedded digital sampling synthesiser – and a number of other state-of-the-art machines when recording.

The Dreaming, by contrast, remains the overlooked jewel in her canon. But while it may be challenging and uncompromising, it’s almost hard to imagine what Kate Bush would be like today if she hadn’t released it. A staggeringly bold step forward for her as a singer, songwriter and producer, The Dreaming was a milestone both for Bush herself and the wider world of music”.

The Dreaming was that wonderful bridge between the promise and bloom of 1980’s Never for Ever and the peak of Hounds of Love in 1985…                                

There is so much to enjoy with The Dreaming and, yes, it can be challenging at times and not every song is a success. The reason I think The Dreaming is underrated is because of the themes Bush addresses and how many sounds she brings to the plate. The Dreaming is so heady and fulsome; there is something for everyone and, to me, this was her most personal album to that point. Life would change noticeably for Bush post-1982 and she did undergo a sort of revival and refresh. Without the intoxicating madness and demands of The Dreaming, maybe we would not have got the Hounds of Love we have – a different-sounding record, perhaps. That time definitely gave Bush a taste of solo producing and it was clear that, from that point, she wanted to produce her own albums. If you are new to Kate Bush – where have you been?! – I would start with albums like Hounds of Love and The Kick Inside (1978) as they are more accessible. The Dreaming definitely needs to be in your thoughts. It is a remarkable work unlike anything else that can sit passion and love alongside the political and the plain insane! Any artist who ends an album with Houdini and Get Out of My House (very different songs that seem like they are from two different artists!) clearly warrants respect and appreciation. Maybe The Dreaming will not win everyone around but I still think it is seen as an odd child; a record that is a bit too scattershot and strange to truly grab the imagination. To me, The Dreaming is a record that opened a new world, not just for Kate Bush but the wider musical landscape. It is a fantastic album that, almost thirty-seven years after its release (it was released on 13th September, 1982), sound completely brilliant, underrated and…

UNLIKE anything else.

FEATURE: A Common Love: The Wisdom of Queen Lizzo and the Power of King Stormzy

FEATURE:

 

 

A Common Love

IN THIS PHOTO: Stormzy at this year’s Glastonbury

The Wisdom of Queen Lizzo and the Power of King Stormzy

_________

THERE are a couple of reasons I wanted to….

 PHOTO CREDIT: Samir Hussein/WireImage/Getty

bring up Lizzo and Stormzy but, for the most part, it all comes down to the inspiration they project from the stage. Both artists conquered Glastonbury and got everyone talking. I will talk in more specific detail soon but, in the case of Lizzo, she gaslvaised people and stirred us with messages of self-love and acceptance. Not only did she give this wild, exciting and supremely confident set at Glastonbury but she brought cheer and wonder to the crowd. These two artists, I feel, created something that went beyond the music. Sure, other acts like IDLES definitely got the people together and in fine voice but I feel there was something especially powerful from Lizzo and Stormzy’s sets. In Lizzo’s case, that positivity and need for people to love themselves could not help but register. The reviews were fierce and, as The Independent explained, Lizzo definitely captured the spirit of Glastonbury: “

“The 31-year-old’s music offers the perfect Saturday afternoon vibes – playful, rowdy, and so laden with personality that even the vulnerable moments are a joy to listen to. Two flute solos – which are very well played, but are special as much for the novelty as anything else – incite perhaps the most frenzied reaction of the weekend so far.

Lizzo is almost maniacally insistent that we all – every single member of a crowd she estimates to about “16 million thousand” – share in her self-love. There are motivational speeches aplenty littered throughout the set. Alongside rapper, singer and flautist, she could add motivational speaker to her resume.

During “Soulmate”, she instructs us to sing “I’m the one” over and over. “I need you to believe it,” she says. “If you can love me, you can love your goddamn self.” Amen”.

 IN THIS PHOTO: Lizzo holds the crowd spellbound at Glastonbury/PHOTO CREDIT: DIY

In a tumultuous and tense time, how often do we stand back and take care of ourselves? I do think music is aimed towards an anger or a sense of depression. We are still hearing too many artists who are exposing their wounds and, whilst this is brave and real, it does not necessarily provide the relief and positivity we need? I do feel like we are all so anxious and aware of the horror around us. Whilst we cannot (and should not) hide it away and deny its existence, the impact it has on our physical and mental health is clear. Lizzo’s mantra is simple but is might not be easy: learn to love yourself. That might sound like a wise notion but how easy is it at a time when we are all sort of feeling the strain?! Her mantra is one we all need to consider in order to live a much more enriched and positive life. I want to bring in a piece Lizzo wrote herself that does not shy away from the complexities and real-world challenges that, to some, seems like a product of the 1960s – that feeling of all being together and, in order to do that, we need to love ourselves and find the good inside:

“…I don't think that loving yourself is a choice. I think that it's a decision that has to be made for survival; it was in my case. Loving myself was the result of answering two things: Do you want to live? 'Cause this is who you're gonna be for the rest of your life. Or are you gonna just have a life of emptiness, self-hatred and self-loathing? And I chose to live, so I had to accept myself.

That's the first step: Acceptance. And acceptance is hard. I'm still accepting myself every day; I'm still working on it.

Sometimes, you need therapy to help you learn to love yourself. I know that therapy is some privileged sh**, and the fact that I'm financially able to afford it, and that I was also in a place where I could accept the fact that I needed it, is incredibly fortunate.

And I also know that there's a stigma around therapy in the black community, and there had been for a long time, especially for black women. We're so strong, because of all that we have been put through, and how little we're sought after and looked out for. So, black women end up like, I got it. I don't need help. I'm handling this. That's why I tried to be strong for so long”.

If you did not see Lizzo’s Glastonbury set then there are clips online (including her version of Juice) and it shows how much love there is for Lizzo. Whilst Lizzo recognises the fact we need to embrace ourselves, for better or worse, she is not promoting something magical or airy-fairy: the reality is that it will be hard and, for those in the black community, there is a sense of stigma. I have heard some social media comments that ask why Lizzo cannot be a ruler; a leader who has the common touch but is tough. It is interesting. I think Lizzo is more than an exponent of self-acceptance and love; she promotes body-positivity and is a figurehead for strong women everywhere.

I do feel we are getting more tired and depressed and, rather than hope for the world to change and bury our heads in the sand, there is something in all of us that can help make the world better. If we are not in touch with ourselves and have that weight on our shoulders then that can be really destructive. An artist who can deliver more than music should be applauded. Lizzo never preaches in a maniacal or insistent way: simply, she has this force and rush that one cannot help but love and admire. I admit there were many female role models at Glastonbury who will inspire for years to come. From Sharon Van Etten, Billie Eilish; Kylie Minogue, Little Simz and Christine and the Queens – so many bold and brilliant performers. I think Lizzo is the Queen of Glastonbury and she performed that near-impossible trick: raising and uniting people through joy and urging them to think deeply about themselves and loving who they are. If one wants to crown a King of Glastonbury then, again, there were options. IDLES played a blinding set whilst DAVE and slowthai cannot be faulted – the same goes for The Chemical Brothers and The Cure! There is no denying that people had reservations when Stormzy was announced as a Glastonbury headliner. For an artist who has only one album, Gang Signs & Prayer, under his belt, many were not sure whether the London-born rapper would be able to handle the pressure and deliver.

Apart from other random moaning about Glastonbury – was the BBC’s blanket coverage a good idea? among them – one cannot deny the quality on show. To me, the women owned the festival – including great sets from Miley Cyrus and Sigrid – but there was one man who seemed to represent what Glastonbury was all about: Stormzy delivered big messages and anger (arriving in a Union Flag bullet-proof vest and getting the crowd to give a middle finger to Boris Johnson) but, like Lizzo, there was this need for the people to gather and feel the love. If Lizzo’s message of self-love was more personal and intimate, Stormzy’s widescreen performance called for a large-scale movement and revolution. His Friday headline set gathered huge reviews. Here is one report from The Guardian:

“Iconic.”

“It’ll go down in our country’s cultural history.”

“An inspiration.”

Musicians, politicians and fans have hailed the rapper Stormzy after he became the first black solo British headliner at Glastonbury festival, opening to a spectacular pyrotechnic display on the Pyramid stage”.

In other review with The Guardian, Alexis Petridis explored the human side of Stormzy’s set. Here he writes how Stormzy, both humble and aflame, managed to deliver a huge high:

“For all the eye-popping, OTT aspects of the show, there’s something very human and touching at its centre. When not imperiously rapping, Stormzy looks genuinely overwhelmed by the size of the crowd he’s drawn on what he describes as “the greatest night of my life”. Another guest, fellow rapper Dave, congratulates Stormzy at length on his achievements before leaving the stage, and, under the circumstances, it doesn’t feel like hyperbole. As Dave seems to suggest, Stormzy’s sheer charisma and talent have elevated an entire generation of black British music. Stormzy himself pays tribute to a string of new-school British rappers as varied as Little Simz, Not3s and Slowthai – and all of them would not be in such a strong position without Stormzy”.

Before I round things off and explain why I feel Lizzo and Stormzy created such iconic sets, author Zadie Smith has penned a feature for The New Yorker that casts Stormzy as a king:

“Onstage, “killing it” is a thing always fated—a special kind of destiny—and yet simultaneously self-created, moment by moment. You have to earn what has already been given. “I feel like the twenty-five years of my life,” the young king insisted, visibly moved, as he looked out upon a crowd bigger than Agincourt, “have all led up to this moment.” It was the definitive line in a monumental drama, performed at a consistent hundred and forty b.p.m., with as many memorized verses as may be found in any of our great tragedies, yet with only one man onstage to say them all. Who managed to bring forth, upon that unworthy scaffold, a tale about the state of the nation, about the place of the black peoples within that nation, and his own place within both. Who used the stagecraft of the court—ballet, choral music, jesters doing wheelies, dancing acrobats—to tell the court he had arrived.

I think Smith articulated the strengths of Stormzy greater than anyone else. How she talks about his dignity and fire; the contrasts that make him both accessible but untouchable. Here, in this passage, she remarks (on Stormzy’s) human anxieties and his anger regarding those in power: 

All things are ready, if the mind be so—if the mind be merky. Covetousness, fury, passion, attitude, desire—the much maligned skills of the street—were now concentrated and trained upon the task at hand. Fair nature was disguised with hard-favored rage, which was itself harnessed and offered outward, to the people, as a kind of service, so that they might express their own feelings of wrath.

(Fuck Boris!) Yet the young king did not hide his own anxieties, nor shy from the resentments and harsh judgments of others. Once, such a man could walk cloaked and incognito through the field, listening to the people run him down and curse his name; now he lurks on Twitter, absorbing ego death by two hundred and eighty characters. Yet, if the crown is heavy, he wears it well. He pays his dues. He makes pragmatic alliances with red-headed kings of expedient countries. He references his elders without entirely bowing to them”.

It is true that Stormzy ascended to a higher plain after his Glastonbury set! He managed to echo the sentiments felt by the masses regarding the state of politics and delivered an almost sermon-like explosion that was spiritual, inflamed and raw. It was also human and very real. This was not an artist hiding behind ego and arrogance: instead, here stood a pioneer and leader, not only for the black community and his peers, but the nation (and world) as a whole. Catch Stormzy storm it here and, together with Lizzo, Glastonbury 2019 has to go down as one of the all-time great festivals! Lizzo’s insanely good set provided many musical highlights, yet it was her desire for the people to love one another that stood out – as she has explained in interviews, the way to realise self-acceptance and love is as much about seeking help and guidance as anything else. Both Lizzo and Stormzy are incredible role models. Lizzo’s empowerment, body-positive aesthetic and positivity goes beyond women and the black community – she is speaking to each and every one of us. The same can be said for Stormzy. Both has challenger when it came to the King and Queen of Glastonbury crown (for Stormzy, IDLES and The Chemical Brothers were near; Lizzo had Kylie Minogue, Janelle Monáe and a host of others) but all challengers were defeated. Both performers created a sense of harmony and strength but they made us think; they delivered their music with heart and soul and, during a particularly hot Glastonbury, Lizzo and Stormzy…

PHOTO CREDIT: DIY

LIT a fire that will burn for years.

FEATURE: Vinyl Corner: Sleater-Kinney – Dig Me Out

FEATURE:

 

 

Vinyl Corner

PHOTO CREDIT: John Clark/Robert Paul Maxwell 

Sleater-Kinney – Dig Me Out

_________

I don’t think anyone was expecting…

the news to come through regarding Janet Weiss’ departure from Sleater-Kinney. She has been the band for twenty-four years and it has come as a mighty shock. Here, as Pitchfork explains, it is a big revelation:

 “Janet Weiss has announced her departure from Sleater-Kinney. “The band is heading in a new direction and it is time for me to move on,” the drummer writes. Read her full note below. Weiss joined Sleater-Kinney in 1996, first appearing on the album Dig Me Out. She has played on every record since, including The Center Won’t Hold, their upcoming album produced by St. Vincent.

In a statement, Weiss’ bandmates responded to her announcement: “We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together.” Representatives for the band offered no further comment when reached by Pitchfork”.

I think Weiss has cited a new musical direction for her departure, but I am not sure what that means. Whether she is not keen on the current album or feels she has reached the end of the road, it is a big change for Sleater-Kinney. The new album, The Center Won’t Hold, is upcoming and, from what I have heard, it is going to be terrific. Perhaps there is a bit of St. Vincent in the album in terms of sound but I love the direction. It is hard to say what truly motivated Weiss to make that decision but I know the band will carry on and, with a new album to tour soon, they need to continue and stay strong.

 IN THIS PHOTO: Sleater-Kinney today (including Janet Weiss, right)/PHOTO CREDIT: Charlie Engman

Thinking about Sleater-Kinney and their new album has got me considering their past and when they arrived in my life. I have heard all of the band’s albums but, if you want their classic album, then you need to investigate Dig Me Out. Released on 8th April, 1997, the music is slightly different to 1996’s Call the Doctor but a lot of the same ingredients remain: a general lack of bass, killer songs and something pretty immediate and raw. If Call the Doctor was motivated, in part, by a bad job guitarist Corin Tucker had, Dig Me Out is more about survival, heartache and determination. If you have not purchased Dig Me Out on vinyl then make sure you right that and let it play. It is a fantastic record and, like its predecessor, recorded fairly quickly and burrows in the brain instantly. Lora Macfarlane drums on Call the Doctor and Janet Weiss joined for Dig Me Out. Not that there is a radical difference but one can sense a new drumming style and influence emanating from the back. Alongside producer John Goodmanson, Sleater-Kinney recorded the album in eight days and, whilst that sounds pretty rapid, it was actually quite a luxury for a still-rising band without a huge budget. Dig Me Out is a harder, rockier affair than Call the Doctor. It digs deeper and Weiss’ Classic Rock/Pop influences come to the fore – she was inspired by bands such as The Kinks and The Beatles.

At once, Weiss was a key element and brought in new Blues and unique edges. It was a bit of an eye-opening appointment and, as such, Sleater-Kinney broadened their music and hit new peaks. There is a greater connection between vocals and guitars on Dig Me Out and, in so many ways, Sleater-Kinney realised what was possible with their sound. Heartache and revival runs right through the album. Corin Tucker and Carrie Brownstein talk about their struggles and lives in a very relatable and honest way. The fact Brownstein and Tucker were dating was a bit of surprise to many – the media didn’t exactly hold back when it came to invading privacy! Dig Me Out is a very real album where Tucker and Brownstein are conversing, battling and consoling one another. In a year when The Chemical Brothers, The Prodigy and Radiohead were ruling the scene, Sleater-Kinney provided something alternative; a Punk-Rock kick that spoke to so many people. Dig Me Out is considered one of the finest albums of the 1990s and, to many, it is Sleater-Kinney’s breakthrough and finest moment. Pitchfork, when looking at the band’s back catalogue, talked about Weiss’ arrival and how things changed for them:

“In practice, Sleater-Kinney were humble, imageless indie-rockers; in song, they demanded icon status. This streamlined set, Start Together, captures that dichotomy, archiving the Sleater-Kinney canon with care: from the ideological-punches of thirdwave feminism to their post-riot grrrl classic rock revisionism, all seven albums have been remastered and paired with a plainly gorgeous hardcover photobook, as well as the surprise of a reunion-launching 7" single. In all, Start Together tells the unlikely story of how this band carried the wildfire of '90s Oly-punk to pastures of more ambitious musicality—a decade that moves from caterwauling shrieks to glowing lyricism, from barebones snark to Zep-length improv, from personal-political to outright (left) political.

Then, behold: Janet Weiss. She joined on 1997's breakneck Dig Me Out, an all-time great American punk statement, giving Sleater-Kinney the most crucial muscle a drummer can offer: not sheer force, but heart, taking the momentum to a new plane. Sleater-Kinney released their next four records with the larger Olympia feminist label, Kill Rock Stars, but none distilled the band's sound and attitude like Dig Me Out: sometimes brutal heartache, sometimes a menacing threat, always intelligent and extreme, there are enough hooks architected into these two- and three-minute songs to span several albums, but even the added dum-de-dum sugar seems as though it must be raw Portland agave.

The highlight of Dig Me Out and Sleater-Kinney's career, "One More Hour" is one of the most devastating break-up songs in rock. "Oh, you've got the darkest eyes," Tucker and Brownstein quaver in unison—the song is about their own short-lived romance—and the way Tucker extends the last word, it is like she can't let them go. There are complex feelings near clear ones, which is what break-ups are: someone wants to untangle the mess, someone wants to snip it apart. "I needed it," Tucker howls, hardly distinguishing where one word ends and another begins. "One More Hour" is sublime sadness, a kind one can only know when staring at the end of something and wanting desperately for it not to be so”.

IN THIS PHOTO: Sleater-Kinney (circa 1997)/PHOTO CREDIT: Getty Images

It was not just the chemistry and connection between the band members that defined Dig Me Out: a lot of the darker and more harrowing moments stand out – as Diffuser noted in their review:

 “Still, it’s the bleaker moments of Dig Me Out that garnered the most attention when it was released, and which still register today, like "The Drama You’ve Been Craving," with its breakneck pace, and the call and response of Tucker setting the scene and Brownstein providing the weary inner monologue. The chugging tandem guitar line that precedes the chorus amps up the tension that doesn’t break until after the second chorus, when Tucker shouts, "Kick it out, kick it in!"

The album still hits hard, even for those who made it.

"Any time I revisit Dig Me Out," said Brownstein recently, "I am struck by its velocity, how I feel almost trapped inside it. I think it's because the album sounds like it takes place in the middle of a much longer ache and scrawl, that there's a life before it and a life after it, that we captured not the launch or the landing but the trajectory itself. The trajectory of the band, of love, of escape, of rage.

"Maybe we were trying to provide a soundtrack," she continued, "both for ourselves and for anyone else who had little desire to go back to the places that haunted them; we'd stay aloft until we destroyed what held us back, or transformed what lay ahead".

 PHOTO CREDIT: Anthony Pidgeon/Redferns

It is clear that Sleater-Kinney’s masterpiece was a breakthrough and you can hear so many elements in modern music. The band redefined what was possible for Punk-Rock and broke barriers; they tackled social assumptions and showed that they were not willing to compromise their ethics and beliefs; a rebellious and strong-willed band that provided inspirations for others coming through. To me, Dig Me Out was the introduction of this great band who were so different to anything out there. I was listening to female bands in 1997 but there was nothing as exciting and mind-opening as Sleater-Kinney. Everyone has their own reasons for loving Dig Me Out but, as musician and journalist Katie Harkin reported for CRACK, Sleater-Kinney were more than just music: they were a part of her fabric:

“Over time I have come to believe that, if you don’t see yourself reflected in the world, you can use popular culture as a kind of scaffolding. It’s especially true when you’re younger, while your identity is still emerging, and Sleater-Kinney were part of the scaffold that I built for myself as a teen. Now, a decade after first discovering them, I wondered about pulling the scaffold apart to try and look at it objectively, and to attempt to do justice to the opportunity I had been afforded. I wondered – if I started to dismantle the scaffolding, would the house would stay standing?

After the first show I played with Sleater-Kinney, I was genuinely speechless. I didn’t play every song, and the experience of switching between being in the show and watching the show felt like jumping on and off a moving freight train”.

Dig Me Out is an album that hits against the suffering women endure and asks for compassion. That sense of rage and anger is filtered into songs that are about survival and keeping going; a sense of betterment that cannot help but stir the senses. With Hurry on Home out in the ether, it seems like The Center Won’t Hold will wow critics and, with St. Vincent producing, new possibilities are coming out. Weiss’ departure casts a shadow - but I know Sleater-Kinney will continue regardless. Anyone who has heard Dig Me Out and subsequent albums featuring Janet Weiss realise how essential her presence is and how she transformed the band’s dynamic and sound. It is sad she has left but I wanted to feature (I think) Sleater-Kinney’s finest hour because it is a record that sounds amazing today. The band are going through transformation and I am not sure what lies ahead for them. The outpouring of shock on social media is understandable because so many people were reborn and understood when Dig Me Out was released – Janet Weiss was a key reason for that. It is a shame we will not get to hear her perform on future Sleater-Kinney albums but, for that reason, make sure you get The Centre Won’t Hold and experience Weiss’ magic for one last time. Sleater-Kinney’s Dig Me Out offered the music world something new and alive in 1997 and, twenty-two years later, they are still…

REWRITING the rulebook.  

FEATURE : A Perfect Vision: Glastonbury 2020: Looking Ahead to Its Fiftieth Anniversary

FEATURE:

 

 

A Perfect Vision: Glastonbury 2020

IN THIS PHOTO: Fleetwood Mac are a big name on people’s lips regarding possible Glastonbury headliners next year/PHOTO CREDIT: Kevin Mazur/Getty Images

Looking Ahead to Its Fiftieth Anniversary

_________

WELL, then!

IN THIS PHOTO: Revelers at this year’s Glastonbury Festival/PHOTO CREDIT: Getty Images

One is still calming down from the excitement of Glastonbury and everything that prevailed! The Cure closed the festival with an electric and memorable headline set on the Pyramid Stage and there have been ample highlights. From Stormzy storming his headline set on Friday to Kylie Minogue’s emotional return on Sunday – she performed a hit-loaded set that delighted a packed audience. It was great to see her back at Glastonbury and, since she was unable to headline in 2005 (after receiving a breast cancer diagnosis), she definitely delivered. There was a great headline set from The Killers on Saturday and notable sets all around the site. People loved The Chemical Brothers and Foals but, to me, if was the women who really delivered the biggest sets. Apart from the likes of IDLES and The Cure, everyone from Christine and the Queens, Lizzo; Kylie Minogue, Kate Tempest and Billie Eilish gave these hugely impressive and confident sets. It is hard to decide which was best but I am seeing loads of people raving about Sharon Van Etten’s set. By all accounts, it was thrilling, impassioned and moving. I loved Kylie Minogue’s slot but I also loved Lauryn Hill and Janelle Monáe’s sets and, to be fair, there were so many other women at Glastonbury who provided stunning moments. The BBC reported on some of the women who dominated the last day at this year’s Glastonbury:

“Billie Eilish, Janelle Monae and Christine And The Queens played across the site, bringing with them messages of liberation, empowerment and acceptance.

Monae, who headlined the West Holts stage, delivered a potent mix of sex and politics, encouraging the crowd to embrace their sexuality by declaring: "Say it loud, I'm dirty and proud".

A field away, Christine and the Queens' Heloise Letissier was also preaching tolerance, pronouncing the Other Stage "a safe space - because if there's no judgment, then anything can happen".

Both artists identify as queer or pansexual - and their placement at the top of the bill felt like an affirmation.

"I have to say it's quite emotional for me to be here," said Letissier, "because I didn't grow up used to winning. It feels like I'm winning something here and it scares me a little bit."

Earlier on the same stage, teenage newcomer Billie Eilish opened up with her hit single Bad Guy - a song that turns the tables on sexual politics - her every word reflected back by hordes of delirious fans.

The 17-year-old had been bumped up the bill, having originally been booked for the John Peel Stage, before her career took off at the start of the year.

"Damn, there's a lot of you," she declared, but Eilish was supremely comfortable playing to thousands - even lying flat on her back to sing When I Was Older.

She was watched from the side of the stage by fashion designer Stella McCartney (who dressed the star in a jumpsuit themed around The Beatles' Yellow Submarine) and festival organiser Emily Eavis, who, on the basis of this performance, could be eyeing Eilish up as a future headliner.

The one person who wasn't satisfied was Eilish herself. "There've been a lot of technical issues, which is why I look angry," she told the audience before she played Bury A Friend. "I've been angry the whole show. Thank you for not leaving. You could have."

The line-up of strong female performers on Glastonbury's closing day also included Kylie Minogue, Stefflon Don and Miley Cyrus”.

No matter who you were there to see or what you deem to be the standout sets, it is clear this year’s Glastonbury lived up to the hype and left everyone feeling very happy. The great weather helped and, as the clearing up continues, there are many looking ahead to next year. It might seem premature but, given Glastonbury turns fifty in 2020, it is inevitable there will be speculation regarding bookings. What can we expect from next year’s festival? I do think, given the wave of female acts who helped score some of Glastonbury’s best sets, gender equality will be on the lips. This year saw the bill comprise 58% men and 42% women but, following this year’s success and the fact 2019 is seeing so many female artists create wonderful albums, I do feel Glastonbury will hit that fifty-fifty gender split without much trouble. In terms of the make-up of 2020’s event, I do think there will be the same genre split. It is impossible to accommodate every style of music but, this year, Metal was represented and there were some great Country artists. With young Pop artists like Billie Eilish and Miley Cyrus playing, there was that platform for the newcomers - but there was plenty of room for the icons. Maybe there was less Folk and Jazz than you’d hope for but these genres were a lot better represented then recent years.

I think so much talk will revolve around the headline acts. Whilst I shall not dive in and ask whether 2020 will see a female headliner, I think the epic sets from Kylie Minogue, Lizzo and Sharon Van Etten will give organisers food for thought. The fiftieth anniversary is a pretty special thing so I think the headliners will be the biggest yet. There are rumours that Fleetwood Mac will play and they have dropped the odd hint lately. It is surprising the band has not yet played and I do think they will be favourites for 2020. One suspects that planning and discussions have already started for 2020 and I know there will be some sort of longlist in the office of Michael and Emily Eavis. It is almost a dream in regards who should play and, whilst Stormzy made history by being the first black Rap artist to take to the stage, I do not think next year’s Glastonbury will feature Grime or Rap – purely because it is a landmark year and, even though Little Simz would be a great headliner, one has to draw the line. I would love to see Paul McCartney headline and, alongside Fleetwood Mac, you have two of the biggest artists of all time. Maybe someone huge like Kylie will headline but I sort of feel she should have been asked to headline this year. I am seeing replies on the BBC Radio 6 Music feed – as they posed the questions as to who should headline – and some interesting names have come up: Depeche Mode, Madonna; Carole King and Bruce Springsteen are among them (any of them would be great; the choice is a very tricky one!).

 IN THIS PHOTO: Might Depeche Mode be in the running for a Glastonbury 2020 slot?/PHOTO CREDIT: Getty Images

It is an alluring proposition but there has been talk that, maybe, Kate Bush will play. I saw BBC Radio 6 Music tweet the possibility but I think, although it would be a dream, it is a long shot. For a start, she has not played a gig outside of London for decades and it is unlikely she will ever play a huge gig again. Bush has never indicated a desire to play Glastonbury, so I do think it is unlikely. That said, you never know with her and she has that ability to surprise! I do think we are still taking in all this year’s festival offered so it might be a bit premature to start guessing. Many people will already be saving up and I do feel like the line-up will be incredibly strong. It would be nice to think that the strongest and most popular acts from this year – including Billie Eilish, Lizzo and IDLES – might get another shot next year higher up the bill but there is so much talent emerging that it will be hard fitting everyone in. It makes me wonder whether, at fifty, whether a fourth day will be added or there will be new tents. It was tricky cutting people from the bill this year and one feels a lot of great names had to miss out because you cannot accommodate everyone. Maybe, for the special anniversary, Glastonbury will extend the celebrations and there is a chance for four headliners.

IN THIS PHOTO: Kate Bush in 1978 (many would like to see her headline Glastonbury in 2020 but the possibility is a very slim one)/PHOTO CREDIT: Gered Mankowitz

Perhaps that is me getting carried away, but it would definitely be an idea. Not only will the line-up next year be blockbuster and busy but there will be celebrations and new features around Worthy Farm. I do wonder whether, as Glastonbury Festival turns fifty, there will be commemorations and a sort of archive section where one can see the classic performances through the years. Even though my dream headliners for 2020 would be Fleetwood Mac, Paul McCartney and Beyoncé (in that order), I know everyone will have their own views and suggestions. I think 2020’s event will bring in people who have never been to Glastonbury and, as it was jammed this year, will a lot of people miss out or be turned away? One cannot do much about the space and adding more but you can imagine just how fevered people will be when tickets go on sale. I am pretty keen to go there and, if there are some headliners that grab my fancy, it seems like a no-brainer. If you want a jump on getting a ticket, have a look here and there is information about how to register for a ticket. I feel there should be at least one female headliner because this year lined up a raft of possible inclusions. I do not envy the organisers because it will be the most hotly-anticipated festival line-up ever and you cannot please everyone.

Regardless, this year’s joy and spectacular fireworks will not be forgotten in a hurry and so many Glastonbury first-timers will be hooked and are determined to come back next year. Who can resist the temptation to look forward and envision what might be?! It is intriguing indeed and I feel next year’s Glastonbury will be the biggest yet. I feel 2019’s line-up was a step up from 2017’s (last year was a fallow year) so the festival continues to strengthen and diversify. Will we have another surprise booking like Stormzy who makes history or will we get an all-legends line-up as headliners? People are already talking about next year’s festival and I cannot blame them really. It has been a spectacular year for Glastonbury and the people who attended will carry those memories for the rest of their lives. It was a wonderful celebration and, to me, a togetherness and message of self-love came out. Stormzy brought people together and opened eyes with his blinding set whereas Lizzo wanted people to love themselves and unite. I do think that, in a difficult year, Glastonbury was a perfect tonic and release for many – it is a shame we have to return to the real world for a while. Maybe we should not jump ahead to 2020 and start compiling our dream festival bill/poster but, after such a successful and wonderful year…

CAN anyone blame us?!  

FEATURE: Do You Level Best: After Some Sound Issues at High-Profile Gigs, Is This Something That Will Put Off Music Fans?

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Do You Level Best

PHOTO CREDIT: @viennachanges/Unsplash 

After Some Sound Issues at High-Profile Gigs, Is This Something That Will Put Off Music Fans?

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I realise that there are thousands of gigs…

 IN THIS PHOTO: Janet Jackson/PHOTO CREDIT: Jeff Kravitz

around the world every year and there are very few big sound problems! To be fair, I have only been to a couple of gigs where the sound quality has been pretty poor. I raise the question because, after watching a weekend of Glastonbury two much-hyped artists were let down by sound problems. The situation with Janet Jackson was a little odd. It seemed, for a lot of her set, she was miming but it is clear there were problems with head headset and live sound. Some of her songs were turned down and the whole set could have been a lot slicker and less maligned if there was better sound. I am not sure what happened in that case but it is obvious Jackson was not happy – even if she did keep her professional façade and did not lash out. The same cannot be said, to an extent, for Lauryn Hill. Her anticipated set was let down with some very obvious sound hitches. It seemed like, through her set, Hill was signalling to the sound technician and was pretty annoyed. It was upsetting to see these two great artists have to suffer through some sound struggles. I guess these things happen and you cannot have everything running smoothly at a festival like Glastonbury. It was understandable Jackson and Hill were not happy with the situation and, on social media, the backlash was pretty intense.

I caught most of Lauryn Hill’s set and it seemed like she recovered to an extent, but Jackson’s set was fraught with volume and clarity issues throughout. I tipped her as a potential headliner and was excited to watch her perform. Whilst she did fuse together some of her biggest hits without dropping a step, the fact we could not hear so much of that was being performed left a sour taste. I was watching the tweets come through and there was not a great deal of love for Jackson. It was not something she could have foreseen and I do wonder what would have been if the sound was perfect – would she have received a much warmer reception? It is debatable whether perfect sound would have transformed both sets from average to world-class because, for both performers, other criticisms were levied. I do feel like the fact they were both women – and there was not sure a severe sound issue for male performers – has created a rather nasty reaction on Twitter. I saw a post that highlighted gender imbalance and the need for more women on the bill. Some, reacting to Janet Jackson’s sound problems particularly, were using that as ammunition against the claim – why would we want more women performing when this sort of thing happens?! Again, one cannot blame the performers for the technical faults and it was very bad timing it happened at a world-wide event like Glastonbury.

 IN THIS PHOTO: Lauryn Hill/PHOTO CREDIT: Getty Image

Both Lauryn Hill and Janet Jackson will keep touring and the sets at Glastonbury, in terms of the problems, will be forgotten. I am watching Kylie Minogue perform right now and, fortunately, she has no sound issues to deal with. Let’s hope the love she is getting means that, yes, we can start considering female artists as headliners. How can one resist Minogue and the sort of reception she is getting right now?! I can appreciate one cannot make everything go according to plan all of the time but so many fans of Jackson and Hill were left short-changed and disappointed. If you have saved and paid big money to see these artists particularly then one can appreciate their grievance when they have to watch a set blighted by sound problems. One can jump right to the joke that met news that Spice Girls fans complained of sound issues. Many were saying that, sure, the songs themselves are sound issues! It is a cruel jibe but, after this much-touted and built reunion, to have not one but two gigs fall flat because of sound problems seems a bit much. Again, if the Spice Girls have a lot more big gigs in the future, are people going to avoid going because they do not want to risk having a bad experience?! This report talked about the sound issues back in May:

“Fans have complained of sound issues for the second time on the Spice Girls' reunion tour.

The pop group's performance on Monday evening at the Principality Stadium did not go down well with some attendees, who claimed they could not hear the music properly.

It comes after similar problems were reported during their opening concert at Dublin's Croke Park on Friday night.

After disgruntled fans who paid £96 for tickets vented their anger online, Mel B acknowledged the issues and said she hoped "the vocals and the sound will be much, much better".

 IN THIS PHOTO: The Spice Girls/PHOTO CREDIT: Andrew Timms/PA Wire

Again, the Spice Girls have had plenty of gigs where they did not struggle with sound, but the fact that two massive gigs had to get criticism is a bit worrying. This BBC article, reacting to Spice Girls’ problems, theorised what might be behind the sound worries – and stated there are other acts who have had their share of bad luck:

“But it's not just the Spice Girls who have suffered from sound issues this week.

The Strokes were beset by problems when they played their first UK show in four years at the All Points East festival in London on Saturday, with one fan comparing the gig to "underwater karaoke".

The audience was filmed chanting "turn it up" during their set, while another festival-goer complained: "If you want to replicate the experience of going to @allpointseastuk put your laptop volume on 50% and stand two rooms away".

Over the last few years, outdoor shows by Eminem, The Killers, Blur and Paul Simon have all been criticised for low volume and poor audibility.

So what's going wrong? We asked some of the industry's leading sound experts.

"With a huge pop band, quite often the most important thing is the set, it's the lights, it's the video, it's the choreography," he says.

"So even though we design speaker systems by computer - if we can't put our speakers in the right place because of video screens, or because of walkways, or the stage, it makes it harder".

It is understandable that a lot needs to be considered when dealing with a huge show. There are set and lighting decisions but one feels sound is top of the agenda. People are there to HEAR the acts play and, if some lights fail or there is a choreography issue, is it as damning and noticeable as sound issues? I do not think so. Other problems can be styled out and some might not notice but, with sound, everyone there is impacted.

 PHOTO CREDIT: Andrew Timms/PA Wire

The article goes into depth regarding logistics and how it is hard to figure out all the sound logistics – especially if artists are mobile and go in and out of the audience:

“Allan, who's also a live sound specialist for technology company AVID, points out that the Spice Girls have a particular problem because they spend a large proportion of the show on walkways in the middle of the crowd - putting them in front of the speakers.

"And what happens if you have a microphone in front of a speaker? It feeds back. That's just basic physics.

"So that's the challenge in a show like that - the girls are in front of the speakers, they're dancing, they're not giving all of their attention to the singing.

"But it's an old roadie cliché: At the end of the day, nobody goes home humming the lights".

Do venues and the spaces artists are playing make a difference? In the case of Glastonbury, the sets were outdoors and they were physical. Janet Jackson and Lauryn Hill were both pretty energised and it is difficult, I guess, to nail sound when you have such a vast space. Stadiums and large venues, it seems, are naturally tricky customers:

“Dublin's Croke Park and Cardiff's Principality Stadium, which were the first two stops on the Spice Girls' tour, "are notoriously horrible for sound", says stage designer Willie Williams, who is best known for his work with U2.

"They're not ideal on many levels, never mind sonically."

The problems with playing music in sports stadiums are well known, agrees Scott Willsallen, an Emmy Award-winning sound designer who has worked on multiple Olympic and Commonwealth Games ceremonies.

PHOTO CREDIT: @bantersnaps/Unsplash 

"In an auditorium that's built for amplified sound, most of the surfaces are pretty soft and fluffy, so any sound that's fired at them is absorbed; whereas a stadium is meant to reflect those sounds to make it more exciting for the crowd.

"The reverberation that helps make a sporting event really exciting makes a mess of the intelligibility of a concert."

There are ways around it, says Willsallen, who has even gone to the expense of hanging drapes around stadiums to absorb echoes and reverberations.

"It's an exercise that can be done - but in that touring world, where it's such a quick turnaround between venues, I imagine that's a tricky bit of economics".

Maybe weather also play a role. Did the high humidity make an impression on the sound regarding the uncomfortable Glastonbury sets? I think that a combination of events contributed but there was a lot of heat in the air. That said, other acts were fine so it is difficult analysing the wreckages. If you have loud crowds then the noise of the people can drown the sound and make life difficult for sound technicians. One might say that these are a few isolated incidents and, like plane crashes, there is magnification because of the number of people affected – even though these things happen extremely rarely. Maybe that is a bad analogy but you get what I mean: we are not talking about this every day of the year!

 PHOTO CREDIT: David Levene/The Guardian

It is not only the Spice Girls, Janet Jackson and Lauryn Hill who have recently had to deal with sound complaints. This article from The Guardian discusses sound problems at a recent Fleetwood Mac gig:

“When Virginia Board found out her favourite band, Fleetwood Mac, were playing Wembley Stadium this month, she knew she had to be there. She was so keen that she was prepared to pay £680 for four tickets, and to travel from Bristol for what she hoped would “be a once-in-a-lifetime experience – something I’d remember forever”.

But what happened on the night left her in tears, and ultimately demanding her money back.

Board was just one of a number of unhappy punters – there were so many complaints about the sound quality on social media that several news outlets, including Metro and the Evening Standard, ran stories on the issue. Board says when support act the Pretenders started their set, it was clear there was a major problem.

“There was a lot of sound reverberation, echoes and just a jumble of instruments. I hoped it would improve when Fleetwood Mac came on, but it didn’t. It was awful and certainly not what you’d expect when you pay £170 for a ticket,” she says.

Alexis Petridis, the Guardian’s head rock and pop critic, said in his review of the gig that “the sound at Wembley ... tonight recreates the experience of trying to listen to Fleetwood Mac with your head submerged in a tureen of soup”. So it would appear something may have been amiss”.

PHOTO CREDIT: @thisisramiro/Unsplash 

What does one do when they have shelled out a lot of money to see a gig like this? Although complaints at these gigs are not necessarily widespread (most will grin and bear it), those who have been affected need to know their rights:

“Consumer advice lawyers have told Money that concerts are no different to any other service and must be provided with “reasonable care and skill”, but promoters will often bat away claims in the hope that the consumer will give up.

Citizens Advice makes clear on its website that when it comes to events such as concerts and festivals, “you should complain if there’s a problem with the quality of the sound”. It says you should first contact the ticket seller or venue for a refund.

However, consumer law expert Jonathan Silverman from London law firm Laytons says his advice would be to bring a small claim against the promoter rather than the ticket seller.

“When you have paid to go to a concert, there is a reasonable expectation that you should be able to hear it. When you have paid £170 for a ticket, that expectation is even greater. If the promoter has failed to provide the concert it promised with reasonable care and skill, concertgoers have the right to be recompensed,” he says.

He advises claimants to produce as much “objective” evidence as they can, such as social media posts or press reviews. It would be up to the court to decide what proportion of the ticket price would be payable in compensation, he says”.

 PHOTO CREDIT: @purzlbaum/Unsplash

I have massive respect for sound technicians and know how hard they have to work. They have such a crucial role and they are often responsible for making sure these epic gigs sounds crisp and flawless – often to tens of thousands of people. I am anxious enough putting out blog posts without many mistakes but I know there are not thousands relying on me and, to be fair, nobody gives two sh*ts if I mess up! Venue organisers need to make sure the decibel level from performers is not too intense and there are reasons why gigs can sound bad. I know we live in a high-tech world where we can listen to perfect audio all of the time but there is a difference between a couple of glitches during a set and some pretty major sound problems. There was a lot of negative press after the gigs where the Spice Girls faced problems and, after Fleetwood Mac’s same nightmare, one got the feeling that lightning would not strike again so quickly! The fact there were two big sets at Glastonbury with sound problems might not seem big in the grand scale but it sort of piles on from these other gigs. That loop continues and I return to my point whether gig-goers will be put off after these experiences and whether the artists involved are bearing too much of the brunt (the hostility aimed at Janet Jackson was especially galling to see).

 PHOTO CREDIT: @josephtpearson/Unsplash

There is a line we need to draw between the expectations of fans and the scope of sound issues. Fans will react especially angrily to sound problems because they pay a lot of money, have to travel and are caught up in the heat and rabble of a gig. If you look at these sound-blighted gigs in hindsight then are they as bad as we assume at the time? Maybe not but there has this been this chain of bad luck affecting some huge gigs; where people have paid a lot of money so they are entitled to complain. I did stipulate how there are numerous facts that affect sound during a gig so one can never prevent all issues. The weather is always capricious and fans’ noise will cause some natural issues regarding audio clarity. I do think large venues and festivals need to look at the cases involving Janet Jackson and Fleetwood Mac and learn lessons from them. Are there ways to override sound issues, sort of like a back-up generator? Can we run more stringent tests on sound equipment and can venues be adapted so that fewer problems arise? I know there will be the odd gig where technical bloopers cause disappointment but one has to feel recent gigs have opened eyes. I would hate to go to a Fleetwood Mac gig or a Janet Jackson set and, after building up my excitement, struggle to hear what is being sung. It would taint my love of live music and that is not really fair on me or any other fan. Whilst solutions are hard and it might take time to examine what happened in the cases of the Spice Girls and Fleetwood Mac, I do think avoiding further cases is key. The artists and fans want perfect communication, harmony and connection and so, when the sound goes bad, that breaks the bond. I do not think most live music fans will be put off by some much-reported sound/gig troubles but it is clear that some…

PHOTO CREDIT: @kylewongs/Unsplash

HAVE already been put off and affected.

FEATURE: My Old School: 1994-1999: A Personal Musical Awakening

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My Old School

1994-1999: A Personal Musical Awakening

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MAYBE I have covered this before but I am feeling…

a little bit nostalgic. There is more to this article than mere nostalgia, I assure you. Actually it is twenty-five year since I started high-school and twenty years since I left. That makes me feel really old because, in many senses, it is almost like it happened yesterday. I think music has the potential to change us at all stages of life - but I do feel like the early teenage years are the most important. It is the stage where we have absorbed our parents’ music and we are stepping into a scary new phase of life. I remember when I started high-school in 1994. I was being exposed to a lot of the fantastic Dance music of the early-1990s and, the year before, I had my first Walkman. The groundbreaking device turns forty tomorrow and it has got me thinking about the Sony Walkman and how it made music more mobile for me. Although 1993 is a bit late to come across the Walkman, one of the first cassettes I bought was Now That's What I Call Music! 24. It was released in 1993 and it remains, sadly, one of my favourite albums ever – so many diverse sounds and artists in the same compilation! 1994 was a time when I left the relative safety of middle-school and went into ‘big school’. I was a bit scared and had to say goodbye to some old friends but, luckily, some old friends came with me and took a big step themselves.

Not only was it hard navigating a new environment but music helped me to tackle all the social cues, responsibilities and challenges of being eleven. The period between 1994-1994 saw Dance and House music continue but give way for Britpop, Grunge and other genres but, happily, by 1999 there was this new wave of Dance. I maintain 1994 is the best year of music ever because we had bands like Oasis and Blur battling it out. The former released their debut, Definitely Maybe whilst Blur brought out Parklife: two of the most iconic albums of the 1990s. At a time when I was opening my mind to music, the mighty clash of Blur and Oasis was wonderful. I was more in the Blur camp but, looking back, and it is hard to separate the bands. Before 1994, I was more used to chart music and Dance but I was discovering this new sensation. In Britain, there was a great thread of Britpop but there were also bands like Portishead bringing genius albums such as Dummy. In America, Grunge acts such as Soundgarden were rubbing shoulders with bands like Hole, Green Day and Beastie Boys. Music was a big part of the social contract and, with every massive release, me and my friends would excitedly chat and share the music. I might have graduated to a Sony DiscMan by 1994 but the Walkman was definitely in my life – I had the both and revelled in the portability of music.

The start of high-school was scary and uncertain but music helped me through and allowed me to bond with my peers. By 1995 and 1996, I was settling in, getting more confident and starting to find my feet. As I got a handle of academic demands and was playing more sport – an after-school football club – I was finding time outside of school incredibly beneficial. 1995, in the second year of high-school, brought great albums such as Pulp’s Different Class, Supergrass’ I Should Coco and Björk’s Post. If the daily life of school threw up some challenges and tough times (I have mentioned the bullying in other posts), then music was a balm and friend. As it is the anniversary of me leaving and starting high-school, I feel I need to nod to the music that shaped me. Elastica, Alanis Morissette and Leftfield all brought out big albums in 1995 and that clash of the Britpop outsiders/players and America’s best was truly inspiring. 1996 and 1997 were tough years because, aside from some struggles and getting closer to sixth-form college, there were some tragedies occurring in my life. Again, music soundtracked some of the best days and helped me cope with the bad. Beck’s Odelay and DJ Shadow’s Endtroducing..... took my mind somewhere special and helped foster a love of sampling in music – I was aware of Hip-Hop classics from the late-1980s but the newcomers mad me step back and re-examine the golden albums from that era.

1997 was a pretty bad year due to a couple of deaths but, away from that, I was turning fourteen and opening myself even wider to music. Music, again, was providing to be a social lubricant but it also gave me direction and peace in those moments when I needed it. Dig Your Own Hole by The Chemical Brothers furthered my curiosity of Electronic and Big Beat music; it seemed bolder and darker than the Dance music of the 1980s and early-1990s but was a nice bridge between the early innovators and what was coming in 1997. The Prodigy were another big band whose big beats and snarl got into my head. I had picked up on them prior to 1997 but The Fat of the Land provided a unique soundtrack. I cannot remember if I have mentioned it before but my after-school football sessions at a friend’s house around the corner where I lived were essential. It was a way to blow off steam and get that release. Anthems from The Fat of the Land, like Breathe and Firestarter, gave me a new lease of life and seemed to define a more mature and daring time in my life. I was getting older and facing the same challenges as most teenagers (hopeless crushes and troubles) and the music of 1997 provided me with stability and balance. The wonder of music heightened again in 1998 when I was getting nervous about leaving high-school.

 PHOTO CREDIT: Horst Diekgerdes

My favourite albums from the year were Madonna’s Ray of Light, Beastie Boys’ Hello Nasty and Fatboy Slim’s You’ve Come a Long Way, Baby. The big tracks and new sounds were a revelation. Around this time, there were school dances and events and I am so glad this all happened in 1998 – at a time when music was really smoking and memorable. Garbage’s Version 2.0 and Pulp’s This Is Hardcore were other big albums and I have remembered all the songs; they are all connected to these special times, both good and bad. As I entered high-school in 1994, I was looking out to music to give me some comfort and a link with people around me. It was rather daunting and unsure but music was invaluable. The same dilemma faced me as I left high-school in 1999. In fact, things were more nerve-wracking and that step from high-school to sixth-form college was a nervous one. There were particular albums that helped make the last months of high-school bearable and pretty inspiring. Blur’s 13 was released on 15th March, 1999 and this was a case of a band that scored my earliest days of high-school helping to end them. The Chemical Brothers’ Surrender came out in June and was one of the last albums I got a hold of before leaving high-school for the summer.

I was always into the music being made by girl groups but, when I needed some groove and uplifting music, great albums from TLC and Destiny’s Child were put into the world. TLC released FanMail: a banging album with hits like No Scrubs and Unpretty was a really helpful and important album when I was readying myself to say goodbye to some loyal friends. The same is true of Destiny’s Child’s The Writing’s on the Wall. That album was released in late-July and, whilst I was on the summer break, Bills, Bills, Bills was released the month before and it was a stone-cold hit that gave me a much-needed smile. If the start of high-school was notable because of testing the water and entering a new stage of life, there was this bittersweet aspect of saying goodbye in 1999. I mentioned how I was a fan of Dance music and 1999 provided two essential records. I sort of missed the beauty of the 1993 compilation and the brilliant House that followed me through middle-school. 1999 was a time of change and evolution and, until the likes of Basement Jaxx and Cassius came along, Dance was a little stale and colourless. I have memories of my leaver’s ball where we all had a dinner at a country club. It sounds fancy but there was this cool dancefloor and tracks of the day – including hits from Sixpence None the Richer among the pack – gave everyone there a last hooray.

I was especially enlivened and excited by Basement Jaxx’s Remedy. The new duo of Felix Buxton and Simon Ratcliffe paired Latin boogie and original expressions into Dance. Before, it had been a bit grey but Basement Jaxx changed things. Dizzying cuts like Rendez-Vu and Red Alert were intoxicating jams – the latter was another song that was played during my leaver’s ball. Remedy was released a day after my sixteenth birthday and it was a nice musical gift. Listen to songs like Bingo Bango and darker broods like Yo-Yo. Although some have been a little hostile towards Cassius’ 1999, it linked alongside British Dance innovators like Basement Jaxx. In fact, Cassius’ debut arrived a few months before Basement Jaxx’s. There is so much to enjoy on the album and I especially love the bubble and hypnotism of Cassius 1999. When I needed something warming and uplifting to end my time at high-school, the French duo of Phillippe Zdar and Boom Bass were up the task. 1999-2000 was another big leap where things got even bigger and scarier but I didn’t feel as anxious as I could have been. Not only did music soundtrack some of the best days, idle times and tough moments at high-school but the songs have remained to this day. I have been thinking a lot about entering and leaving high-school because of the big anniversaries – twenty-five and twenty years seems daunting but, as I say, the brilliant music makes the memories clear.

I am not sure whether there is any anniversary happening at my high-school but it seems like a shame if nothing happened. My old high-school is still standing and looks relatively unchanged after all of these years. Maybe the fact I am in London and entering another new phase of life has taken my mind back to high-school and the music that started my life there – and the brilliant stuff that was still fresh and relevant in 1994. From the Britpop and awakenings of 1994 to the new players in Dance music, a lot of sensational music made my best days wonderful and the worst days bearable. Of course, family and friends helped but music was so important to me. I do wonder whether I was still have memories of high-school a decade or two from now and whether the songs of the time will still be in my head. One cannot always look back and live in the past but one needs to acknowledge the past and its importance. Music has this immense power that can change lives and I think the most important discovery period is when one enters high-school. I wanted to look back to show which albums/artists were accompanying me from the ages of about eleven through to sixteen and, to anyone reading this, have a think about your high-school days and which albums were important to you. Whilst it is sad those school days are so far in the past, the memories from that time…

 PHOTO CREDIT: Mario Testino

ARE still with me today.

FEATURE: Female Icons: Part Nine: Björk

FEATURE:

 

 

Female Icons

IN THIS PHOTO: Björk IN 1994/PHOTO CREDIT: Getty Images 

Part Nine: Björk

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I could well have chosen someone like Kylie Minogue…

IN THIS PHOTO: Björk in 1994/PHOTO CREDIT: Getty Images

for this week’s Female Icons but I think I will give it a couple of weeks. I am sure her Glastonbury set today will be a stormer so I am keen to include some clips from that if I can. Next week will see me focus on Aretha Franklin but, today, I wanted to include one of my favourite artists ever: the sublime and always-evolving Björk. Many might say that, compared to some of the legends of music, Björk is a bit new. Icon status can come after a relative short time; if someone changes music or makes that big impact then I maintain their status is correct. I also think that Björk has helped push music forward. Not only is she is of the most striking artists ever but her live performances are the thing of legend. I wonder whether Björk was considered for this year’s Glastonbury because I think she could have produced a truly beguiling set. Maybe she has date conflictions and would not have been able to attend but one hopes she is in mind for next year. I would love to see Björk’s many worlds transition to the stage at Worthy Farm. It would be immense to think of the possibility and what she could achieve. I do appreciate there is an irony starting the story with Björk’s 1993 album, Debut – she did release an album in the 1970s as a child but Debut is, effectively, her first proper release.

 PHOTO CREDIT: Jean-Baptiste Mondino

Debut is one of my favourites ever and I hold such affection for it. I know a lot of people gravitate towards the follow-up, Post, but I love the fact Debut introduced the world to this rare and truly unique artist; someone who would go on to change and keep her music fresh and inspiring. On her first outing, Björk brought together Trip-Hop, Pop; House and various other genres to create this eclectic and wide-reaching album. One can hear elements of Kate Bush’s vocal gymnastics – Björk actually cites Kate Bush as an influence – and Björk recorded a lot of Debut in England. She was drawn to the sounds and artists here. One time Björk was in Manchester and 808 State took her around the city; exposing her to Dance music of the time – and one can understand where some of the harder beats and elements might have come from. The Icelandic-born artist must have felt a little isolated in her home country and, whereas she was clearly inspired by sounds from the U.S., the Dance and House music of the U.K. around 1992/1993 clearly got into her bones. Debut, in a way, is Björk giving her version of the club culture in Manchester and London; the sense of joy and giddiness of the time with something personal to her – a shot of darkness, oddity and sensuous that took Dance and Trip-Hop in a new direction.

In some ways, Björk fitted seamlessly into a scene that was exploring love and together; at a time when music was aiming towards the positive and there was this great club culture. In many ways, mind, Björk stood outside of it. Her lyrics explored love in different forms but she was not a traditional songwriter. A lot her lines did not rhyme; there were unusual rhythms and her vocals soared, weaved and exploded. There are few songs on Debut that are traditional and dance-able – maybe Big Time Sensuality is an exception. I love Debut because there are so many different sounds and visions rather than this rather straight and obvious thing. This AllMusic review sums up the joy and complexities of Debut:

“Though Debut is just as arty as anything she recorded with the Sugarcubes, the album's club-oriented tracks provide an exciting contrast to the rest of the album's delicate atmosphere. Björk's playful energy ignites the dance-pop-like "Big Time Sensuality" and turns the genre on its head with "There's More to Life Than This." Recorded live at the Milk Bar Toilets, it captures the dancefloor's sweaty, claustrophobic groove, but her impish voice gives it an almost alien feel. But the album's romantic moments may be its most striking; "Venus as a Boy" fairly swoons with twinkly vibes and lush strings, and Björk's vocals and lyrics -- "His wicked sense of humor/Suggests exciting sex" -- are sweet and just the slightest bit naughty. With harpist Corky Hale, she completely reinvents "Like Someone in Love," making it one of her own ballads. Possibly her prettiest work, Björk's horizons expanded on her other releases, but the album still sounds fresh, which is even more impressive considering electronic music's whiplash-speed innovations. Debut not only announced Björk's remarkable talent; it suggested she had even more to offer”.

How does an artist follow up an album that gained such interest? Between Debut’s release in 1993 and Post’s arrival in 1995, music had evolved and changed in the U.K. Britpop was starting to take charge and Grunge was starting to fade a little. There was still Dance music but, perhaps, other genres were taking a hold. Post is a louder and brighter album than Debut and one that opened up commercial possibilities. Even though there were some bold artists in 1995, Björk was in a league of her own and gave license to more experimental and bold artists. You can hear her influence in artists today such as Lorde but, at the time, Post was a revelation. Produced alongside Nellee Hooper and collaborators such as 808 State’s Graham Massey, most of the tracks were written after Björk moved to London. In the icier and scenic numbers, one can hear Björk’s native Iceland: the clash between the two worlds works beautifully and leads to this rich and nuanced album. Post reflects a new chapter – essentially life ‘post’ Debut. This is Björk settling in a new city and trying to fuse all the sounds and sensations bubbling and bursting in the clubs. If Debut was Björk putting together years-old songs and undertaking quite a long production process, Post was freer and a more spontaneous affair; a sense of multiculturalism works in every track and, despite that, Post is accessible and cross boundaries.

 PHOTO CREDIT: Stéphane Sednaoui

Before I bring in a review of Post, I want to feature an article from XS Noise that examined the album in 2016:

“Post” reflected changes in Bjork’s life. The most pronounced change was Bjork having moved home base from Iceland to London. The release mirrored the urban fast pace life of the city she now called home. Her goal with the release was to integrate experimentation into popular music while using a wide emotional palette. The themes that repeat themselves throughout are; strength, instinct, and independence. Additionally the release was darker and more aggressive than “Debut”. It channeled the restlessness of the city but also displayed a fine balance between experimental whimsy and pop sensibilities. The album kicks off with one of my all time Bjork favorites Army Of Me. The back story of the song was that it was written with her brother in mind. She wanted him to get on with his life and deal with things. That message comes through loud and clear, “you’re alright there’s nothing wrong, self sufficiency please and get to work.” The sentiment in the lyrics could be heard coming from the mouth of any parent of a teenager and is a sort of rally cry. The bombastic fuzz fest that is the accompaniment makes for one funky and driving work with its phenomenal beat. It is a perfect song for taking control and kicking the blues.

Like many artists following up a successful debut release, Bjork was under enormous pressure to deliver the goods. Many questioned if she would succumb to the dreaded sophomore slump that ensnares many performers. Post reveals that Bjork could exercise that demon and pull off yet another triumph with flying colours. Bjork again moves through so many genres, moods and sensations and comes out with a compelling timeless release. She would move on to record Homogenic in 1997 and complete the trilogy that marked her 90’s solo career. In the beginning of the new century she would move beyond the earthly concerns of musical popularity. Bjork would go on to shape-shift her way through the 2000’s and into her latest manifestation, 2015’s Vulnicura all the while retaining her solid fan base and critical acclaim. She has along the way become her own cloistered “genre of me” in a land where no one will ever unseat the queen. “Post” was her second step up to that lofty throne”.

SLANT made some interesting observations when reviewing Post back in 2003:

“For many, the delicate balance of Post represented the ultimate Björkian pop experience, and one that has yet to be topped. In fact, Björk’s next album, her 1997 glass-dragon Homogenic, indicated with one fell swoop that Björk had moved beyond pop into what one might call her own cloistered “genre of me.” The shimmering Vespertine, from 2001, suggested a move on Björk’s part to translate her own unique musical style back into the world of pop (with some fantastically emotional moments like “Undo” and “It’s Not Up to You”), but Post will likely always remain the Björk album that most successfully sustains her winning balance of experimental whimsy and solid pop magic”.

It was clear that post-Post, Björk has the critical ear and was determined to keep pushing her music and bringing in new sounds. Recorded in Spain, Homogenic came about in 1997 and, as Britpop and club culture has changed and slipped away, Björk was also moving in a new direction. Whereas her first two albums were pretty big and multi-coloured, her work at this point was simpler and more focused, musically. If Post is bright and luminous then Homogenic is more abstract, chilly and Icelandic. Geographical influence had shifted but the uncategorisable nature of her work remained; the apex of her Electronic and Hip-Hop passions cemented into something unique and wondrous.

I think Homogenic remains Björk’s best-reviewed album. Björk wanted the album to reference her native Iceland and there is this huge shift from Post to Homogenic. I shall not bring in a review for every Björk album but, when it comes to Homogenic, one must look at the critical reaction. Pitchfork seemed to explain and explore Homogenic as well as anybody:

“…You don’t need to know any of these details to connect with Homogenic, however; its emotional impact far transcends the biographical footnotes of its making. Lyrically, the record picks up themes she had already explored on her previous two albums—loneliness; sexual desire; desperate, even defiant love; the feeling of being a fish out of water—but her writing is more vivid than ever before. “I’m a fountain of blood/In the shape of a girl,” she bellows in “Bachelorette,” and later, “I’m a path of cinders/Burning under your feet.” The song is a kind of epic saga, and Björk has explained that it forms the third part of a loose trilogy with “Human Behaviour” and “Isobel”—a sort of Bildungsroman about Björk’s own adventures in the wider world.

But the main theme running through the album is the wish to rush headlong into a life lived to the fullest—an unbridled yearning for the sublime. “State of emergency/Is where I want to be” she sings on “Jóga,” a song dedicated to her close friend and tour masseuse, in which churning breakbeats and slowly bowed strings mediate between lava flows and Björk’s own musculature—a kind of Rosetta Stone linking geology and the heart. “Alarm Call,” the closest thing on the album to a club hit (the Alan Braxe and Ben Diamond remix, in fact, is a storming breakbeat house anthem) shouts down doubt with the indomitable line, “You can’t say no to hope/Can’t say no to happiness,” as Björk professes her desire to climb a mountain “with a radio and good batteries” and “Free the human race/ From suffering”. 

After three albums of very different tones, the question was where she would head next. Björk turned in a more domestic and intimate sound with 2001’s Vespertine. The beginning of a new century saw digital sounds and sites like Napster come to the fore. Björk used instruments (on Vespertine) that would not be compromised when played on a computer. As such, she brings in instruments such as harps and the celesta; creating ‘microbeats’ and using household sounds to create this very intimate-yet-expressive world. Again, sex and love were lyrical drives. Björk was motivated by her relationship with Matthew Barney and you can hear this sensuality, sense of freedom and exploration ruining throughout Vespertine.

IN THIS PHOTO: Bjork photographed by Craig McDean in 1997

Vespertine is an album as noticeable for its visual inventions and moves as the sonic. Just look at the music video for Pagan Poetry and it revolves around a woman preparing herself for marriage; preparing herself as she sews a wedding dress onto the skin. It is an eye-catching and jaw-dropping video from an artist who, since Debut arrived, was using videos and visual elements to truly bring her songs to life. Verspertine is both of-the-moment and vintage; it celebrates the quiet and intimate but it is hungry with lust and always close to something rapturous. It is no wonder that, again, critics were hooked and Björk was being spoken about in rarefied and lofty terms. Medúlla found Björk moving away from electronic instruments and creating an album almost entirely comprised of human vocals. Uniting singers such as Mike Patton of Faith No More and beatboxers Rahzel and Dokaka, it was yet another move into the wonderfully captivating world of Björk – where would she head next?

To me, her two finest ‘modern albums’ are 2011’s Biophilia and 2017’s Utopia. The former was composed as a concept album during the 2008-2011 Icelandic financial crisis and explored the links between nature, music and technology. Biophillia is a multimedia project that was released alongside a series of apps. Not only was the album pushing technology and showed Björk was at the forefront of the cutting edge but she used newly-designed instruments for the album – the Tesla coil was used an instrument on Thunderbolt. It is another album that moved in a new way and captured the imagination. The Telegraph, in this review, poured praise on Biophillia:

“So after the wild, tribal beach party of her last album, Volta (2005) she’s made a profoundly controlled, private and theory-driven record.

The science-themed Biophilia is a multimedia project pairing 10 songs with corresponding iPad applications on which Björk has collaborated with developers, scientists, writers, inventors, musicians and instrument makers. There will be a website, live shows and educational workshops.

But let’s just focus on the music here, which Björk has based on algorithms found in nature and fed through a combination of electronic and organic instruments.

It sounds, as she admits, like a recipe for disaster. But – shot through with Björk’s tangible sense of wonder – it’s surprisingly accessible, hypnotic and beautiful if you give it time and concentration: the audio equivalent of looking through a microscope at crystals growing.

The opener, Moon, is a melancholic stargazers’ meditation, which layers Björk’s idiosyncratic vocals over a brittle, icy harp. As she sings of cycles of rebirth, her voice is prayer-full of human yearning. Yet its peculiar, glottal angularity puts you in mind of astronomical charts”. 

 PHOTO CREDIT: Santiago Felipe

Utopia is, in a way, is Björk’s Tinder album – I think she described it as such. If previous albums have embraced existing loves, Utopia goes looking for new hope and enrichment. Most of the melodies on the album were written whilst Björk was walking in Iceland and you get this sense of the wilderness and Björk looking for new horizons. I think it is an underrated album and, whilst not as evocative and experimental as some of her earlier work, it is another stunning album. AllMusic raises some interesting points:

“However, Utopia's lightness isn't to be taken lightly, and she spends much of the album diving into the therapeutic work that makes happiness possible. "The Gate" sounds and feels like a sacred transformation ritual; over a deeply intoning flute, Vulnicura's wounds become openings for love to be offered and taken (later, "Features Creatures" borrows some of this mystery for its romantic déjà vu). "Body Memory" responds to the centerpiece of her previous album, "Black Lake," but where that song pulled her down deeper and deeper, here she trusts her instincts as she climbs over obstacles and hangups. Even as Utopia breaks free from pain, its songs are shaped by it, whether on the mournful "Losss" or "Courtship," where a cycle of online dating rejections leaves Björk wondering, "Will we stop seeing what unites us/But only what differs?"

PHOTO CREDIT: Tim Walker 

She focuses on how to make this unity a reality as Utopia draws to a close, most touchingly on "Tabula Rasa," a luminous wish that she burden her children with "the least amount of luggage" that she also extends to women to "break the fuckups of the fathers." Similarly, on "Future Forever," she urges listeners to turn off the loops of their pasts, but the bittersweet melody acknowledges just how big the gap between hopes and actuality can be. Utopia isn't quite as idyllic as its title implies, but its mix of idealism and realism makes it an even greater success as a manifesto for radically open love and as a document of thriving after loss”.

Before I come to the end – and bring in a review of her new live show – I wanted to highlight an interview she gave with The Guardian back in 2017 following the release of Utopia. It is a revealing and candid interview I urge people to check out. In the interview, Björk talked about Utopia and her dating life:

“Björk thinks of her utopia as an island, perhaps one that was created out of an eco-disaster, an island where plants have mouths or hover like hummingbirds or grow out of your hands. “Do you know the fish in The Simpsons, that has three eyes? Like that.” (This makes me laugh: Björk is funnier than she’s given credit for.) In her head, women arrive to create a new, better society. They bring kids and music and eco-friendly tech, “and then there is the everyday life on the island”.

How are you with “dating”?

“Oh for me, that word is so ridiculous!” she says. “In Iceland, especially in my teenage years, we didn’t date. You just went out and you got plastered and you woke up the next morning with someone and… And you married them! I definitely don’t date, like go to a restaurant all dressed up.”

In a recent interview, Björk called Utopia “my Tinder album”. “Yes, because I thought that was hilarious, but obviously I would never be able to be on Tinder.” What she’s talking about, really, is fresh experiences with new people: the excitement and sexiness and clumsiness of those encounters. “People trying things out, and rejection, both ways. We all have chapters, and then when you start new chapters, it’s like: ‘I’m walking down the same streets I’m always walking down, I’m wearing the same clothes, but it feels like I’m on Mars.’ In the best possible sense, but also in a scary sense. I missed being this emotional explorer, I enjoy it”.

Björk also talked openly about sexual abuse in music and the entertainment industry and whether we have taken any progressive steps:

“I think, perhaps no. But we’ve got another story going on now and it is important to address it. There’s this feeling in the air that if we address it now, in three years’ time it might be over.”

She is talking about sexual harassment and abuse. The night before I arrived, Björk issued a statement on Facebook in support of the actors who have spoken out about this. She said that she, too, had been sexually harassed while working in the film industry…

She named no names, though she was clearly talking about Lars von Trier, the director of Dancer in the Dark, in which she starred (Von Trier has since denied her claims). “My humiliation and role as a lesser sexually harassed being was the norm and set in stone with the director and staff of dozens who enabled it,” she wrote. Having long operated from a position of power in the music industry, she was shocked to find that actresses did not have such power. (In the cab on the way to this interview, I noticed that her first statement was the number one news item. It’s a reminder of how important Björk is in Iceland.)”.

In her latest live show, Cornucopia, Björk has yet again pushed the envelope but, in addition to visual and sonic innovations, she is keen to raise issues around the environment and promote change. This feature from Rolling Stone explains in more depth: 

“Björk’s Cornucopia was billed as the Icelandic pop-iconoclast’s “most elaborate staged concert to date,” and it would be a tough claim to refute. The world premiere of the concert-like multi-media piece, commissioned by the newly-opened New York City art temple The Shed — an avant-garde culture outpost that opened last month alongside the controversial Hudson Yards luxury real estate development — featured a spectacular surround-sound installation, a 52-member Icelandic choir that at one point swarmed through the audience, other-worldly costuming, and vivid staging, including a bounty of jaw-dropping, lushly layered video projections. If the show ever makes it to Denver, where psilocybin mushrooms were just decriminalized, its swirling phantasmagoria would surely find a receptive audience. But it did, too, in the singer’s adopted hometown of New York City, as she wove together songs from her catalog into a female-centric fable of environmental crisis and pitch for radicalized Earth-stewardship.

IN THIS PHOTO: Bjork performs onstage during her Cornucopia Concert series at The Shed on 9th May, 2019 in New York City/PHOTO CREDIT: Santiago Felipe/Getty Images  

For all the beauty on display, the production is gloriously angry the way Björk can be at her best, embodying a sort of punk-rock Valkyrian fury. And it’s telling that the show’s takeaway, and final word, comes not from Björk, but from 16-year-old Swedish climate-change activist Greta Thunberg, speaking in an unprocessed video message against a backdrop of silence. She said in part:

“We are about to sacrifice our civilization for the opportunity of a very small number of people to continue making unimaginable amounts of money. The biosphere is being sacrificed so that rich people in countries like mine can live in luxury. But it’s the suffering of the many which pays for the luxuries of a few. In the year 2078, I will celebrate my 75th birthday. If I have children, maybe they will spend the day with me. … Maybe they will ask why you didn’t do anything while there still was time to act. You say you love your children above all else, and yet you’re stealing their future in front of their very eyes. Until you start focusing on what needs to be done rather than what is politically possible, there is no hope. We cannot solve a crisis without treating it as a crisis … And if the solutions within this system are so impossible to find, then maybe we should change the system itself. They have ignored us in the past and they will ignore us again. They have run out of excuses and we are running out of time. But I’m here to tell you that change is coming, whether they like it or not. The real power belongs to the people”.

I do wonder where Björk will head next and whether a new album will arrive next year; if we will see her tour here how she will evolve. There is no predicting Björk but she seems to be in very fine form right now. I have followed her music since 1993 and I have seen few artists accomplish as much and change between albums. She is one of the most exciting and influential artists around today and her albums are bounteous with life, texture and feeling. You can put on an album like Post or Utopia and submerse yourself. I do think Björk is an icon and deserves an awful lot of credit. She is an artist who stands on her own and, during a time when there is still too much predictability, we know Björk will never conform or become boring. She is a wonder of the world and that rarest of artists. She is always capturing what is trending and relevant but she puts so much of herself into album that you cannot compare her work with anything else. I do feel we will hear more from Björk this year and next and something fresh will come from her. It is a shame she did not get the chance to play Glastonbury this year but, as next year is the fiftieth anniversary of the festival, one feels a lot of legends will be invited to play. Let’s hope that, when the elite list is being drawn up, Björk is right near…

PHOTO CREDIT: Getty Images

THE top of the list.

FEATURE: Glastonbury Queens: The Terrific Female Artists Illuminating 2019’s Festival

FEATURE:

 

 

Glastonbury Queens

IN THIS PHOTO: Lizzo delivered one of the best Glastonbury sets so far yesterday/PHOTO CREDIT: Getty Images 

The Terrific Female Artists Illuminating 2019’s Festival

_________

IT is a bit unfortunate that one of the biggest…

IN THIS PHOTO: Janet Jackson/PHOTO CREDIT: Getty Images

artists at Glastonbury, Janet Jackson (you can watch the set here), was let down by sound issues yesterday. I saw her set on the T.V. and, from the off, it seemed like there were technical issues. Some say she was miming throughout but, with such a high-intensity set, Jackson definitely had a lot of work to do. Despite the sound problems, I do think she gave a great performance and it was nice to hear all of her hits merged together so seamlessly. It was a very tight performance and proved why she is such an influence. Despite some technical issues, there were some great reviews for her set. The Guardian, in their piece, were keen to highlight the positives:

“When she makes her Glastonbury debut, three decades into her career, it is initially a discombobulating experience to witness the actual “Miss Jackson if you’re Nasty” standing on stage in a farm in Somerset in front of a mass of sunburn. It’s not helped by a weirdsound mix that means her vocals are weirdly buried on All for You album track Trust a Try, which she launches into after arriving on stage via a riser on to a raised platform flanked by eight dancers. Lewis Capaldi she isn’t.

PHOTO CREDIT: Mary Ellen Matthews 

The opening deep cut is a fake-out, as she then dashes out a medley of greatest hits taking in the sweaty R&B of If, basically all of Control’s huge singles (What Have You Done for Me Lately into Control into Nasty) and the throwback disco of All for You. If the crowd seem initially hesitant – perhaps kept at a distance by the high-gloss arena-show levels of production – then the undeniable bangers win them round. Janet also relaxes into it with a beaming “I could learn to love this Glastonberry (sic)”.

Seeing Jackson on the Glastonbury stage, at last, was a relief and I do hope we get to see her again. Another female artist who was let down by sound issues was Lauryn Hill. Although she performed her only solo album, The Miseducation of Lauryn Hill, there were these problems regarding sound – making me wonder whether venues and festivals needs to do more to ensure greater consistency and fewer hiccups. In any case, Hill was radiant and illuminating and she gave a wonderful performance. It would not be her without some punctuality issues (she turned up fifteen minutes late) but the icon definitely delivered. I will talk about some female artists who are going to make the final day of Glastonbury rock but, perhaps topping Jackson and Hill was the incredible Lizzo.

How @Lizzo won Glastonbury 💅

We could have put the entire set on this montage so go inhale every cookie crumb of it on @BBCiPlayer ▶ https://t.co/oXwtcbrQoz pic.twitter.com/tngXwJeyQT

— BBC Radio 6 Music (@BBC6Music) June 30, 2019

I caught clips of her performance and, between playing the flute and downing some alcohol, it seemed like she owned the stage! The movement and wonder she puts into her performances are mind-blowing and I think everyone in attendance could agree on the fact she killed it. From Hill’s performance on Friday to Jackson and Lizzo’s yesterday, fans were treated to incredible women slaying it. I loved Lizzo’s set because she brought so much life and standout moments to Glastonbury. The Independent, when reviewing the performance, concentrated on Lizzo’s messages of self-love and the insistence everyone gets behind that banner:

“Y’all ready to go to church?” asks the 31-year-old, as she arrives onstage dressed in a pink sequinned leotard and decadent ruff-cum-cloak. It’s an accurate analogy – Lizzo inspires such reverent enthusiasm among the crowd that when the camera pans away briefly, someone shouts, “PUT IT BACK ON HER!” Her dancers are the perfect apostles – they mean business to such an extent that they’re wearing knee pads. I suspect most churches wouldn’t include the command, “everybody f**king jump”, but frankly they’re all the poorer for it.

The crowd’s reverie is at least partly thanks to Lizzo’s unabashed messages of self-love. “I’m like chardonnay, get better over time,” she sings on the funk-pop banger “Juice”. “Heard you say I’m not the baddest, bitch, you lie.” For “Truth Hurts”, she dons a veil and announces that she’s taking herself on a honeymoon.

PHOTO CREDIT: Cameron Wittig 

Lizzo is almost maniacally insistent that we all – every single member of a crowd she estimates to about “16 million thousand” – share in her self-love. There are motivational speeches aplenty littered throughout the set. Alongside rapper, singer and flautist, she could add motivational speaker to her resume.

During “Soulmate”, she instructs us to sing “I’m the one” over and over. “I need you to believe it,” she says. “If you can love me, you can love your goddamn self.” Amen”.

One of the performances, perhaps, people were not expecting much from was Sheryl Crow (watch her set here). She played the Pyramid Stage on Friday and it was another staggering performance. I grew up around her music and hearing some of her big hits – like All I Wanna Do – played to the crowd was wonderful. As a performer, she moved around and went into the crowd. If Janet Jackson and Lauryn Hill were focusing on technical details and routine, Crow was more like Lizzo in her freedom and bond with the crowd. Crow was eager to bond with those in attendance and she definitely kicked off Glastonbury in style. I have seen so many great responses to her set and it is a shame that she is releasing her final album later this year. It is sad we will not get more material from Crow but I do hope she keeps touring as her Glastonbury turn was a real highlight.

If there was a lot of focus on some of the bigger female artists, a few that really took me by surprise were Jorja Smith (available to see here), Freya Ridings (watch her here) and MØ. I am familiar with all three female artists and they all have their different style. MØ is, perhaps, the less-well-known of the trio but the Danish artist thrilled when she took to the Other Stage on Friday. Ridings performed her richly emotional and personal songs and caused more than a few people to tear up! I think both women have the potential to become headline acts in years to come but one who seems a little bit closer is the awesome Jorja Smith. Her album, Lost & Found, was nominated for a Mercury and it was one of last year’s best. A confident and spellbinding debut, there are touches of Amy Winehouse and Nelly Furtado but, when you listen deep, this is a strong and unique woman who has stories to tell. Her voice is incredible and powerful and, when she performed on the West Holts stage, there was a huge reaction for her. Pop has not been represented too heavily this year but Sigrid (watch her perform here) definitely made a case for included more Pop acts. She performed a blinder yesterday evening and played songs from her album, Sucker Punch. Like artists such as Robyn, Sigrid can blend the personal and revealing with something fun and catchy. I hope Sigrid and Robyn get to share the same stage one day as they seem like they’d be a perfect duo.

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Sarah Louise Bennett

In any case, she was wonderful and so too was Carrie Underwood (see her performance here) and Anne-Marie (check her out here). The former played the Pyramid Stage yesterday afternoon and the latter followed her. Whilst Underwood is more Country-based, Anne-Marie is pure Pop. Both artists played incredibly moving and energetic sets and I think they will bring more fans in next year. Many might have stumbled upon Anne-Marie and Underwood but both woman gave such commanding sets that they will be moving up the Glastonbury bill soon. If you want a couple of acts that were underrated but gained a huge reaction then ROSALÍA and Cat Power (see her performance here) definitely took some beating. The former is a rising Pop artist who blends in sensual rhythms and fire and definitely stands aside from her peers. If Cat Power’s set was more emotive in terms of tone, both women caused shivers and huge excitement. Again, I hope both have a chance to headline in the future. I have sort of raced through names – and I would urge people to check back on Friday and Saturday’s performances to see some great women I have missed out! I do apologise to any big artist that has slipped through.

That is the thing, though: there are so many great female artists that it is a bit dizzying taking it all in. If we have already seen some iconic sets so far, Sunday is going to be about the women. Apart from The Cure headlining this evening, it is a day for eclectic and inspiring women to take to the stage. Little Simz is on the Park Stage later and I know a lot of eyes will be on her. Her album, GREY Area, was released earlier this year and it is one of 2019’s very best. If Stormzy can headline after one album I do think one must recognise Simz and note that she is ready to headline. I know she will perform a huge set this year but I hope Glastonbury keeps her in mind for potential headlining soon. Although she is eighty next month, Mavis Staples is still performing and will showcase songs from her new album, We Get By this afternoon on the Pyramid Stage. If you have not heard Staples perform then try and catch some of her performance (if you are there) and there will be chances for people at home to check her out. I have not even mentioned Kate Tempest (watch here) and Sharon Van Etten (catch her set here) - but both women are at the top of their field. I am a big fan of both and I know they have received big acclaim for their sets. Both gave these wonderful sets and, as I keep saying, there is headline potential in both. Van Etten’s Remind Me Tomorrow is new as is Tempest’s The Book of Traps and Lessons – both albums are in the running for the best of the year.

 IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Roy Rochlin/WireImage

Kylie Minogue takes on the teatime ‘legends’ slot today and it will be an emotional performance. She was due to headline in 2005 but was diagnosed with breast cancer and was unable to perform. I cannot wait to see which songs she brings out because, since the 1980s, she has been changing Pop and giving us these incredible hits. I know she will gather a huge crowd and, if she is not unlucky enough to suffer sound problems (can lightning strike three times?!) it will be a performance to remember for years. The weather is right and I know she will slay it the same way Lizzo did! Miley Cyrus is also playing later today and, whilst many might wrinkle their noses, her music is far richer and more appealing than a lot of the Pop out there. She recently appeared in an episode of Black Mirror and I cannot wait to see her perform. I imagine there will be pretty big sets and she is going to go all-out regarding design and lighting! Billie Eilish is another young talent that is destined to headline one day. Her album, When We All Fall Asleep, Where Do We Go?, gained a big reaction and many noted how she stayed away from the traditional Pop format. Her songs are more intense and experimental; how, as a teenager, she has this incredible confidence and ability. Expect her to give an outstanding performance and I know she will enjoy many more years at Glastonbury!

 IN THIS PHOTO: Christine Héloïse/PHOTO CREDIT: Getty Images

Christine and The Queens is on the Other Stage later tonight and it will be a great time for her to shine and explore. With Chris (2018) still fresh in many people’s minds, I know Christine and The Queens will bring it. If you have not seen her live shows then make sure you catch her at some point! Like Lizzo and Sheryl Crow, she is a performer that engages and gets in with the audience. Her performances are hugely impressive and I expect her to make it higher up the bill very soon. Hollie Cook is also playing today (this afternoon) and that will be a real treat. Also check out the amazing women who will be playing today. I have mentioned some of the best but, to be truthful, there are many more who have made Glastonbury so much richer. You can see Kylie Minogue today and then, later this evening, enjoy Janelle Monáe at the West Holts area. I think she will rival Lizzo when it comes to standout sets and I know her latest album, Computer Blues (2018), will get an airing. Monáe is a stunning live performer and she has so many big hits in her locker. There will be many new and established fans that will flock to see her and it will be a memorable set for sure. I have not even mentioned Neneh Cherry (she her performance here) and her fantastic set. You can catch up on iPlayer if you want to see Cherry’s set. Glastonbury is making big strides when it comes to gender equality and, with 42% of the acts female, they are heading in the right direction. As we have seen already – and will see today – the best women in music right now…

 IN THIS PHOTO: Neneh Cherry/PHOTO CREDIT: Getty Images

ARE a force to be reckoned with.

TRACK REVIEW: Brittany Howard - History Repeats

TRACK REVIEW:

 

Brittany Howard

PHOTO CREDIT: David McClister 

History Repeats

9.5/10

The track, History Repeats, is available via:

https://www.youtube.com/watch?v=RwD9S4onuQ0

GENRES:

Indie/Blues-Rock

ORIGIN:

Alabama, U.S.A.

RELEASE DATE:

27th June, 2019

LABEL:

Sony Music Entertainment UK Limited

The album, Jaime, is available from 20th September. Pre-order here:

https://store.brittanyhoward.com/

__________

I will talk about Glastonbury later…

 PHOTO CREDIT: Brantley Gutierrez

and, as part of that discussion, I wanted to look at the female artists who have played this year. It has been a busy and exciting festival and there have been so many highlights. In terms of the gender balance at the festival, yes, there is a little way to go but it seems Glastonbury is far ahead of most British festivals. I think a lot of the hesitation and holdback comes from the perception regarding women and whether they are headline-worthy. There is this feeling that women, for the most part, cannot play as hard and well as men and, with some big bands headlining Glastonbury this year, will policies change so that women are giving a better shot? There are some great female bands but, mostly, it is female solo artists that stand out. There is a lot to unpack regarding Glastonbury but I do think they have to make some big changes in the next couple of years. Whether we want to talk about roots and encourage more women to go into professions like engineering and producing – thus, female artists having fellow women in studios – or push the talented female artists emerging to the front, I am not too sure. I do think that there is this perception that women cannot perform as energetically and emphatically as men; maybe they are more Pop-based or less anthemic. This comes down to a subject that interests me: women who can shred it! We have the likes of St. Vincent and Anna Calvi and bands like Goat Girl but, if you look further, there are many more. Brittany Howard is an artist many of us might not know by name but, if you like Alabama Shakes, you will recognise her for sure! I will talk about other aspects of her music/personality - but I think her affinity for the guitar is key. Look at most photos of her online and you will see her holding a guitar! She is one of these role models who will help encourage more girls/women to pick up the instrument.

 PHOTO CREDIT: Billboard

There is a lot more to Howard than the guitar but I do like the fact that, at a time when many assume women can’t/do not play, Howard shows otherwise. In fact, Howard is a skilled musician and exceptionally varied songwriter. One cannot easily label a gender and this idea of limitation in women is eroding. More great female artists are coming through which means, more and more, we will see steps towards equality. I am fascinated by the gender split regarding guitar and, how recently, there is a lot more equality. It seems that role models and certain artists are compelling young women to play and I hope, in years to come, this will help bring about some greater balance regarding festival line-ups. There are so many strong and original female artists in music right now and Brittany Howard ranks alongside the strongest. I have been following Alabama Shakes for a while and I do love the band aesthetic but, to me, it is the power and brilliance of Howard that allures me. Her voice is magnetic and sensational and her playing exceptional. She is a complete musician and hugely interesting writer who goes beyond the ordinary and sticks in the mind. I will talk more about Howard and other sides to her but, as a lead and figure in music, I know she will be inspiring so many other artists. I have written a lot about gender imbalance in the industry but, with artists like Howard shining and exploding, I know we will see correction and improvement very soon. Not only has this year been synonymous with women powering through but black artists have been right at the top of the tree. I do think that, still, music is too homogenised but 2019 has been a far more eclectic and broad year regarding gender and race. Maybe I am wrong but I do think there are movements in the right direction and music is far richer than it was a few years ago.

The reason I say this is because some of the very best albums of the year have been made by black artists. We have just seen Stormzy nail his Glastonbury headline set and, whilst he has not released an album this year, he is the first black British artist to headline Glastonbury. In terms of the albums, big releases from Lizzo, Jamila Woods; Little Simz, Dave and Solange have all won big critical love. I am not suggesting that there is equality regarding race in music – that is another issue to unpack too – but this year, to me, has been noticeable because of these strong black voice emerging. Maybe it is the fact that artists like Dave and Little Simz have been talking explicitly about the state of the country and the reality of where they live; a certain authenticity that is not often fostered by the industry. I do sense this determination from black artists to get the respect they deserve and, like women, stop being pigeon-holed and labelled. Maybe it will take a while longer for black artists to get equality on festival bills like women but I can sense change and a slight shift occurring. Brittany Howard, again, is an inspiring role model for women but especially for black women who might feel that their voice will not be taken seriously. I have bonded with some incredible artists this year in terms of their stories but, when it comes to Brittany Howard, her background is especially stirring. If you want to talk about a fascinating story and one that seems almost impossible, then study Brittany Howard. This article talks about Howard’s childhood and when she first picked up the guitar:

“Brittany’s dad, K.J. Howard, repaired and sold used cars. The family ran a junkyard, and their home, a little trailer, was set in the middle of it. “[M]y mom was really good at making our home—no matter what our situation was—always felt like a home, always felt really nice,” Brittany told NPR in 2016…

PHOTO CREDIT: Alysse Gafkjen 

“We had a lot of different kinds of animals. . . . I grew up on a farm, in a sense.” It was a carefree time, but when Brittany was nine, things changed. Her older sister, Jaime, suffered from retinoblastoma, a rare cancer of the eye, and although Brittany adjusted—“Being a kid, it’s just how life is”—Jaime became blind and eventually died from the disease. (Brittany also was born with retinoblastoma, but as she explains, “They caught mine in time ’cause it was years later.” She’s lost most of the vision in one eye but wears glasses and is, she reports cheerfully, “fine.”) Shortly after Jaime’s death, K.J. and Brittany’s mom, Christi Carter Howard, split up. “[I]t’s hard to stay together when everybody’s grieving,” Brittany told NPR. “So they split, and I went to live with my mom. We moved to the city. In Madison [Alabama], we lived in a little apartment.”

That’s when Brittany really started playing guitar. Her mom was working, and music was something to figure out, something to do. Jaime had taught her little sister how to write poetry and play the piano, but Brittany had to figure out the rest on her own. She dug out Jaime’s old guitar: “I took it to my music teacher at school, she tuned it for me,” Brittany told CBS News. “And then I just took it home and wrote my own songs”.

I do think music has been missing these role models leading from the front who will inspire the next generation. Sure, we have the odd one popping up now and then but this year has been especially strong. From Howard to Stormzy; to Simz and Woods, some of the finest artists of this year are going beyond the familiar and actually writing music that matters. I have so much respect for artists like Brittany Howard because she is a pioneer and someone who will give strength to those similar to her; those who have a similar upbringing, that is.

 PHOTO CREDIT: Alysse Gafkjen

Let us move on because there are a couple more subjects I want to bring in. I want to talk about artists who move from bands and step out alone. It is interesting because yesterday saw me review Liam Gallagher’s new track and, with an album out on 20th September (like Howard), both emerge from very successful bands. Granted, Gallagher’s Oasis broke up years ago and they were a bit bigger than Alabama Shakes but my point is about adapting and being taken seriously as a solo artist. When I was reviewing Liam Gallagher, I sort of wondered whether there is this chance Oasis will play together again and how critics, when they approach his music, always mention the band. The same happens with Howard and, whilst Alabama Shakes are not over, Howard is stepping out on her own. Alabama Shakes are a great band with their own sound but Howard’s single, History Repeats, is a different thing altogether. She has been keen to imprint her own voice into the mix and not repeat what she has done with Alabama Shakes. I guess there is always something scary about moving from a band and launching a solo career. Through the decades, countless artists have done it – some with more success than others. I do feel like Howard has brought a lot of lessons and elements from Alabama Shakes and injected that into her solo work. Rather than show any nerves and sound a bit out of her element, she is completely assured and wonderful. Everything is building up to the release of her album, Jaime. I have talked about the background of Murphy and her musical affinity but, when it comes to her solo album, there is a personal tragedy/relevance. If one looks at her official website then you can see why Howard wanted to put Jaime out into the world:

“I wrote this record as a process of healing. 

Every song, I confront something within me or beyond me. Things that are hard or impossible to change, words and music to describe what I’m not good at conveying to those I love, or a name that hurts to be said: Jaime.

I dedicated the title of this record to my sister who passed away as a teenager. She was a musician too. I did this so her name would no longer bring me memories of sadness and as a way to thank her for passing on to me everything she loved: music, art, creativity.

But, the record is not about her. It’s about me.

It’s not as veiled as work I have done before.

I’m pretty candid about myself and who I am and what I believe. Which, is why I needed to do it on my own.

I wrote and arranged a lot of these songs on my laptop using Logic. Shawn Everett helped me make them worthy of listening to and players like Nate Smith, Robert Glasper, Zac Cockrell, Lloyd Buchanan, Lavinia Meijer, Paul Horton, Rob Moose and Larry Goldings provided the musicianship that was needed to share them with you.

Some songs on this record are years old that were just sitting on my laptop, forgotten, waiting to come to life. Some of them I wrote in a tiny green house in Topanga, CA during a heatwave.

I was inspired by traveling across the United States. I saw many beautiful things and many heartbreaking things: poverty, loneliness, discouraged people, empty and poor towns. And of course the great swathes of natural, untouched lands. Huge pink mountains, seemingly endless lakes, soaring redwoods and yellow plains that stretch for thousands of acres. There were these long moments of silence in the car when I could sit and reflect. I wondered what it was I wanted for myself next. I suppose all I want is to help others feel a bit better about being. All I can offer are my own stories in hopes of not only being seen and understood, but also to learn to love my own self as if it were an act of resistance”.

That is a lot to absorb but I do love the fact that there is this family connection with the title but, actually, Jaime is deeper than that. Self-love is very much what Howard is about and she has this great social conscience. 2019 has been a year where some very bold and aware albums have come out in terms of social poverty, politics and connection. Howard has travelled around the U.S. and seen so many varied sights. Her album is a testament to those visions and I cannot wait to hear it!

Before I move on, I want to bring in an article from Rolling Stone that talks about the album’s namesake, Jaime, and the relevance to Brittany Howard:

“One of those belongs to her older sister Jaime, the album’s namesake. “She taught me how to write a song, taught me how to draw, taught me about art,” Howard says of her sister, who died at 13 from a form of eye cancer. “I’ve always been connected to her spirit. This [album] was kind of my way of doing something together.” Howard thought about her sister’s tape collection, where Elvis stood next to the Supremes. Howard also listened to Brazilian artist Jorge Ben, who makes music “where there’s literally, like, 18 different things happening in the song.”

Throughout the album, Howard sounds relieved at the chance to speak her truth. “If people like the record, that’s amazing,” she says. “I’m just proud that I made the record.” She plans to tour with the people who helped her make it, including keyboardist Paul Horton (who has toured with the Shakes) and Shakes bassist Zac Cockrell, “because to me he’s, like, the best bass player.”

As for the band that made her famous, even Howard isn’t sure what its future is. “We’re a family,” she says. “Those are my bro-bros for life. But right now they’re just letting me do my thing. If I did the same songs and the same everything, I’d be so miserable. I’d be so bored. I wouldn’t care about heaps of cash, swimming in a cash swimming pool. It does not matter to me”.

I do think it is important to contextualise albums and learn a bit about the background. So many artists give very little away and it can lead to a very frustrating listening experience. Rather than give a few lines of information, Howard has told this story and it gives Jaime a much greater depth and weight, I feel. I think it is important to move on and get to the song in question. History Repeats is a fantastic track and one that will impress Alabama Shakes fans but also draw in those who are not aware of the band.

 PHOTO CREDIT: Alysse Gafkjen

Anyone who worries whether Brittany Howard going solo would take away some of Alabama Shakes’ percussive strut and physicality should not worry. On her single, History Repeats, things get off to a pretty physical and bold start. The percussion slams and rolls and, before she has even sung a word, you get this real sense of impending mood and force. It is a wonderful introduction and already gets you standing to attention. There is a real sense of scurry and busyness when one hears the vocals. Rather than it being a single layer, Howard layers her voice and sort of creates this conversation. There is percussion and guitar and all of this adds to the mix. After a building introduction, the heroine talks about a certain place and not wanting to go back there. Rather than pack too many words in and build a huge story, there are a few lines that show great economy; there are mantras repeated and this feeling that, if the words are said enough, they will stick. Howard’s lead vocal has this odd effect where it seems a bit lower down the mix and has this great quality to it. It is hard to describe and explain but I love what Howard does. The guitars mix between Blues and Funk and you get this nice little kick and guide coming from the strings. Howard talks about this ‘place’ constantly and she has already been. She has washed her hands and does not want to return that. Whether this is an emotional state and not wanting to return there or something else, I am not sure to start. Keeping a sense of mystery means listeners can make their own decisions and tell their own story. I get the feeling there is this struggle and Howard is seeing her country change. Having been raised with a certain degree of struggle, she is seeing so much poverty and inequality around her. Rather than change happening and people getting back on their feet, they are being put down. She has seen a degree of poverty and you know she does not want to go back to that place.

History Repeats, in many ways, is like a prayer or sermon. Rather than it having a traditional structure and form, it seems more freestyle’ and spontaneous. I mentioned how certain lines are repeated and I think that is what gives the song its power. Rather than forgetting the lyrics, lines will stick in the mind and you will find yourself repeating them over and over. I guess that is the point of the song: Howard wants people to take her words to heart and learn from them. Howard talks about history repeating itself and how we are defeating ourselves. Maybe this is a shot at politicians who are making the same mistakes and not helping those in need but it might be a wider call to the world. It is an intriguing thought and one that remained with me for a while. Whereas some Alabama Shakes songs put the guitar right at the front, although it is still prominent in the mix, the percussive element is the driving force. Maybe it is that need to summon avalanche and describe something hard-hitting – the drumming throughout is extraordinary. Howard’s licks and guitar work is, as always, essential and the entire composition is beautifully weaved and detailed. I do think you will need to check out History Repeats a few times because it is a pretty big song that will take a while to digest. This year has been a mighty one for music and, with Brittany Howard putting new material into the world, it has got even better! I am not making predictions just yet but I do feel Jaime will be regarded as one of the best albums of 2019. I have always loved Howard’s work but I think she has added something new to her work as she has stepped out solo. History Repeats is one of the strongest singles of the year and it bodes really well for Jaime. I shall end the review there but I have been amazed by Howard’s new single and it is one I cannot stop listening to at the moment. Make sure you investigate the track and let it get into the brain because, after a single spin, it will do its work and will open your mind.

Brittany Howard is playing across the U.S. in the coming weeks and months and will be preparing to release her album on 20th September. It will be one of the most anticipated albums of the year and I cannot wait to hear what other songs are going to be included. I have mentioned how it is tricky stepping away from a popular band and going out alone. I do not think Howard has any problems because, not only are Alabama Shakes resting at the moment, but going solo allows her to try something new and put more of herself into the music. I think the rest of this year will be very busy for her and it must be exciting embarking on this big tour and having an album on the horizon. Ensure you get Jaime when it comes out in September because I think it will be among the best records of 2019. I shall wrap things up pretty soon but I wanted to return to my points regarding strong role models and why artists like Brittany Howard are to be investigated. She is an amazing talent who has already put so much great music into the world but there is plenty more to come. As a guitarist, Howard will compel so many young women (and men) to play and I think that is really important. She has this incredible history and rise that is motivating and really inspiring to see. The music she is putting out into the world is immensely powerful and I cannot compare her to anyone else. 2019 has already seen so many great role models put albums out and here comes another one. The sensational Brittany Howard is hitting the road and make sure you go and see her. I wonder whether she has plans regarding U.K. dates and will be back with her.

She recently spoke with BBC Radio 6 Music and Lauren Laverne and I do think Howard is coming this way soon enough. There are plenty of people here who will want to hear her perform and see those incredible songs come to life. I am a big fan of what she does and I cannot wait to see where she goes next. An amazing band leader has stepped into the solo realm and, as History Repeats shows, she is a natural! Effortlessly transitioning from Alabama Shakes into her own light, who knows how far she can go. I also talked about festival bills and imbalance and I do think Howard is a natural headliner-in-waiting. Let’s hope she does have that opportunity soon because, now more than ever, strong women are showing festival organisers what they are missing. Let’s leave it there because I feel I have covered all I can but, as to end, I want to urge people to check out History Repeats and make sure you put in your order for Jaime.  It is a remarkable album and one that has so many different stories running through it. I have already, I think, decided what the best album of 2019 (so far) is but, with great artists like Brittany Howard still to come…one cannot predict the finest albums of 2019…

JUST yet.

___________

Follow Brittany Howard

 PHOTO CREDIT: Alysse Gafkjen

Official:

https://brittanyhoward.com/

Facebook:

https://www.facebook.com/brittanyhowardofficial/

Twitter:

https://twitter.com/blkfootwhtfoot

Instagram:

https://www.instagram.com/blackfootwhitefoot/

YouTube:

https://www.youtube.com/channel/UCiBty__tv0y3HeTJb7DpaSA

Spotify:

https://open.spotify.com/artist/4XquDVA8pkg5Lx91No1JxB?si=uXmTf_SKRquSYwc_zBtcjQ

ALL UNCREDITED PHOTOS:

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FEATURE: Vinyl Corner: The B-52’s – The B-52’s

FEATURE:

 

 

Vinyl Corner

ART DESIGN: Tony Wright 

The B-52’s – The B-52’s

_________

I feel 1979 was a transformative and odd time for music…

IN THIS PHOTO: The B-52’s (circa 1979)/PHOTO CREDIT: The B-52’s/Getty Images

when albums from all genres were flying together. Think about the albums that arrived in 1979 and you have Joy Division’s Unknown Pleasures, The Clash’s London Calling and Fleetwood Mac’s Tusk; Michael Jackson’s Off the Wall and Pink Floyd’s The Wall! I guess every year has a fair mix of sounds but, at a time when Punk was making a burst through but we had legendary bands like Fleetwood Mac and Pink Floyd doing their thing, who is to say what is unusual or normal? Despite the extremes of 1979 I do not think the world was quite prepared for the likes of The B-52’s! They were, in essence, from another world. In terms of their music, it did not really fit in with the Punk ethos (obviously) and there was nothing as giddy, colourful and eye-opening as their debut. Released on 6th July, 1979, The B-52’s is a record that deserves vinyl attention. It is hard to get a copy but, if you look around you can get hold of one. In the eponymous debut, The B-52’s mixed Garage-Rock, Pop with Dance and Soul. There was, of course, a sense of kitsch and playfulness that sat alongside the seriousness – the album would not have resonated and endured has it only been surface-deep. Although they formed in 1979, the band looked like they had arrived from the 1950s – big hair, colourful suits and that blend of the suave and fantastical.

 IMAGE CREDIT: The B-52’s/Getty Images

The band are celebrating forty years together right now – as I shall come onto – but it is good to see they have not exactly cooled it on the dress and hair front since 1979! The B-52’s would go on to create some pretty decent albums (such as Wild Planet and Cosmic Thing) but did they shine as brightly as they did on their debut? It is one of those interesting arguments around artists and their work – did they peak right from the off and lay down something supreme without warning? A lot of critics at the time might have been sniffy regarding this band from Athens, Georgia. Unlike their city-mates, R.E.M., these guys were unafraid to let them their hair down and provide something silly – although one of The B-52’s’ vocalists, Katie Pierson, did sing on R.E.M.’s (although R.E.M. went on to disown the song!) track, Shiny Happy People. With an album cover designed by Tony Wright, many picking up the vinyl for the first time would not have known what to make of things. The B-52’s was released only a few days after the introduction of the Sony Walkman (the device started in Japan but made its way to the rest of the world). I can imagine few greater joys than carrying The B-52’s with you as you ran or went about your business! Whilst some write The B-52’s off as a kitsch and gimmicky band, I think they are a lot deeper and more worthy than that dismissal.

Consider songs like Planet Claire (the opening track that was released the same day as the album) and how it builds like a film score. It is sort of Sci-Fi but it trips like a thief in the night; there are intergalactic moments and it is a song that seduces with ease. I know John Lennon, shortly before his death, name-checked The B-52’s and there was a lot of love for the band from Kurt Cobain too. In this Pitchfork celebration of The B-52’s, they mention the connection to Kurt Cobain (and Dave Grohl):

“On opposite sides of the country, pre-adolescents Dave Grohl and Kurt Cobain both watched the band play “Rock Lobster” and “Dance This Mess Around.” They would later refer to the B-52’s as formative music and style influences, and point to the debut as an example of a great album on a major label, since, in 1991, the ability of a major label to release a good record was actually a subject broached in interviews”.

Few albums rock and party as hard as The B52’s. Maybe there was this perception that they would be buried in a 1979 that was fostering other styles and movements. Maybe it was the quality of the hooks and melodies or the quirkiness of the songs: whatever it was, the band were taken to heart and they offered a fun and frivolous option to a lot of the more angered, depressive and po-faced music that was around that year.

 IN THIS PHOTO: The B-52’s at an early gig/PHOTO CREDIT: The B-52’s/Getty Images

I want to return to that Pitchfork article because they give information regarding The B-52’s’ formation and how they sort of defied the odds in a way:

“In old interviews, the band says they’d only played a couple of ad-hoc house shows in Athens before trying their luck in Manhattan, driving up and back to play gigs for a few bucks and exposure. They were a live hit almost immediately, drawing fans to Max’s Kansas City and CBGB and getting the dourest post-punk scenesters to at least bob their heads along. Live videos and recordings from those first couple of years convey a wild energy propelled along with precise rhythms and an astounding amount of confidence. When the B-52’s showed up, it was a great party that could go way off the rails.

In 1979, they signed to Warner Brothers in the U.S. and Island in the UK, and went to the Bahamas to record their debut at Compass Point Studios with Chris Blackwell. Armed already with a monster single, the band consciously held back a few live hits for their second album, the more slickly produced Wild Planet in 1980. The B-52’scame out sounding raw and live because Blackwell wanted to accurately capture their electric sound in the rock clubs, which had won rabid fans with its danceability and maximal minimalism. It got them mentioned in the same breath as post-punk heavyweights Devo and Wire as art-punk on its release. That rawness worried the band at first, who found it “sterile,” Strickland said much later, but it served the songs well.

Major label or no, it’s still one of the most outright bizarre albums to sell over a million copies. From the opening Morse-code beeps of “Planet Claire,” the band’s interstellar obsession is foregrounded. Its “Peter Gunn” riff, Pierson’s keyboards, and wordless vocals make up the first two and a half minutes of the song before Schneider starts singing. It’s about their willingness to let tension build to the edges of discomfort, to startle a listener who might have thought this was going to be an instrumental only to start yelling at them about a planet where all the trees are red and no one ever dies or has a head.

With the exception of perhaps the Fall, there’s not another post-punk band that can claim such a consistently positive track record in terms of who they’ve inspired. Steve Albini and Madonna claim them as an influence. “Hero Worship” is all over Sleater-Kinney, who also forego bass guitar and have complementary vocalists, and who recorded a song with Fred Schneider for a 2003 Hedwig and the Angry Inch tribute record and covered “Rock Lobster” (with Fred Armisen) in their live shows”.

All of the songs on The B-52’s is great but one cannot ignore the sheer weirdness and wonderfulness of Rock Lobster! What the f*ck is the song even about?! It seems to fit right in with the album but, taken on its own, and it remains a unique and curious thing. I am not surprised The B-52’s gained kudos when it was released because, right throughout, you have a hell of a time. This retrospective review from AllMusic seems to wrap everything up rather nicely:

“Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party…

The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as "Planet Claire," "Dance This Mess Around," and, of course, their signature tune, "Rock Lobster." These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation -- it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact -- it's a hell of a good time”.

IN THIS PHOTO: The B-52’s as they are today/PHOTO CREDIT: The B-52’s/Getty Images

The band are actually in the U.K. right now – they play Gateshead Sage tonight and are down in London tomorrow - and, as this Rolling Stone article explains, The B-52’s are celebrating forty years together:

“The B-52s have announced a world tour commemorating the band’s 40th anniversary. The 43-date trek includes a headlining North American summer run along with European dates and festival appearances. Tickets for the 43-date trek go on sale on Friday. OMD and Berlin will serve as support on select dates.

The tour kicks off on May 4th in West Palm Beach, Florida at Sunfest. Following a string of dates throughout Europe in June and July, the band heads stateside, beginning in the West Coast on August 1st at Pacific Amphitheatre in Costa Mesa, CA. The North American leg wraps on September 24th in New York, New York at Summerstage in Central Park”.

One cannot easily categorise The B-52’s as one genre/thing or another. There is the more Punk-driven sound of Hero Worship and the Pop touches of Planet Claire; the New-Wave/Surf of Rock Lobster and the utterly beguiling swing of Downtown. I hope people listen to the album again and, as it is forty in a matter of days, it is a perfect opportunity to spin this wonderful work. I am not sure whether The B-52’s have another album planned and what is happening but they continue to tour and love what they do. The B-52’s has campness and fun but there are the more serious songs that rely more on strings and drive as opposed angular words and catchy melodies.

In that sense, the band satisfied every taste in 1979. They spoke to those embracing Punk and Pink Floyd’s experimentation; those who loved what Fleetwood Mac were doing on Tusk and those who were spellbound by the Disco of Donna Summer’s Bad Girls – not to mention the fact that The B-52’s threw in a bit of David Bowie (glamour, camp and genre-hop) and The Jam (Punk and a definite, youthful spit!) in a year when both artists released big albums (Lodger and Setting Sons respectively). The Knack and Blondie were flying high in 1979 (the latter released the exceptional Eat to the Beat) so The B-52’s were not quite so out in the open – they sort of brought everything together and added in their own sugars, spices and cocktails! Forty years after its release, The B-52’s still sounds fresh and magnificent! There are new things coming from songs you might have overlooked and big hits like Rock Lobster have not lost their charm! If you want a record that that is perfect to lose yourself in then you can’t go wrong with The B-52’s. It is a magnificent beauty that was pretty radical in 1979 but sounds even more so in 2019! It started the U.S. band on a wonderful career – some say they never flew as high and wild! Wherever you put The B-52’s in the discography of the eponymous band, one cannot deny the album is…

PHOTO CREDIT: The B-52’s/Getty Images

TRULY sensational.

FEATURE: Living the Dream: Cillian Murphy, Rob Delaney and Martin Freeman: The Glorious BBC Radio 6 Music Guest Mixes

FEATURE:

 

 

Living the Dream

IN THIS PHOTO: Rob Delaney presents his final show for BBC Radio 6 Music tomorrow (30th June) at 2 p.m. - completing a popular four-week run/PHOTO CREDIT: Matt Martin for GQ

Cillian Murphy, Rob Delaney and Martin Freeman: The Glorious BBC Radio 6 Music Guest Mixes

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I am not sure why Cillian Murphy…

 IN THIS PHOTO: Cillian Murphy stood in for Guy Garvey (and his Finest Hour show) and has since been replaced by Rob Delaney and Martin Freeman/PHOTO CREDIT: Getty Images

left BBC Radio 6 Music because, listening to him cover for Guy Garvey on Sundays, and it sounded like he was a pig in his proverbial. I wanted to explore this subject again – guest D.J.s on BBC Radio 6 Music – because it intrigues me greatly. Joe Talbot from IDLES has just stepped into the breach to cover Iggy Pop for a one-off and, more and more, BBC Radio 6 Music is opening its doors to some big names. The regular cast of presenters are loyal and great but one of the problems with that reliability is you know that you are going to get; the same sort of shows which, whilst comforting, are not as flexible as they could well. By that, I mean shows are beholden to playlists and a sense of structure and, nicely, with guest appearances, there is a bit less order and some interesting touches. Murphy was due to step in for Guy Garvey for another month I think but, for some reason, he is not presenting anymore. Two new names were drafted in to complete Garvey’s show: Rob Delaney and Martin Freeman. The comic actors are each doing a one-month stint and, whilst Garvey finishes up in the studio with Elbow, they have a chance to spin their favourite songs on Sunday afternoon. If you have not tuned into Delaney at 2 p.m. then you can catch up here - because next week (7th July) is his last show. I do hope he is invited back because, as he has already shown, Delaney has a natural warmth and humour; he knows his music and has provided some entertaining shows.

 PHOTO CREDIT: BBC

Rather than have the regular BBC Radio 6 Music playlists running through the shows, Delaney has been free to select what he wants and, through the weeks, he has played a bit of everything. You can look back at the songs he has spun already but, in his final show, I am interested to see what he will give us. Of course, following on from Delaney is Martin Freeman. Freeman has done some work with BBC Radio 6 Music before, and with Eddie Piller, has presented some shows. I know Freeman loves his Jazz and he is a Beatles nut. I am not sure what sort of music Freeman will play on his four shows but it will be exciting what he has coming up. I was a bit wary of celebrities/non-regulars on the station and, perhaps, it was nothing more than a bit of jealous. After all, anyone who loves their music would kill to be in the same place as them so, driven by some professional envy, I was unreceptive at first. Delaney has done a really great job and I am sure Martin Freeman will be a big success. There have been other big names presenting on BBC Radio 6 Music before. The station does its Wise Women shows at Christmas and Laura Marling has been one of the names who has had her own show. It is great to hear someone different come in and diversify the station a bit.

 IN THIS PHOTO: Martin Freeman will take over from Rob Delaney after his (Delaney’s) final show tomorrow/PHOTO CREDIT: Getty Images Europe

I think BBC Radio 6 Music has created a brilliant balance with its regulars and guests and, as Delaney hangs up the headphones, it is time for Freeman to come in. Whereas Delaney had his own presenting style and was a rather laidback and cool dude, I think Freeman will inject more energy and approach his stint with a more academic stance – maybe talking more about the songs and digging into them. It makes me wonder, going forward, whether the station should offer more of these opportunities. Murphy was very popular with listeners and, as I have explained before, it is a shame he is gone. I do think the station should offer out regular guest spots at the weekend because it is nice hearing an assortment of familiar voices and discovering what music drives them. A lot of the stand-ins have been men so, from the world of music, T.V. and beyond, it would be good to hear more women come in. Alongside their regular Paperback Writers features (where literary figures talk about the music dear to them), I think listeners would get a real kick hearing others like Rob Delaney and Martin Freeman present. Delaney has been great so I hope he is allowed to return and maybe do a few more shows in the future. Regardless of the plans of BBC Radio 6 Music, hearing non-D.J.s, as it were, inspires me. We get the impression that, in order to make it onto a big station, one needs to go down the conventional route – learning the craft and starting at local radio before moving your way up.

 PHOTO CREDIT: @akeenster/Unsplash

That is truer of regular live shows but, for the pre-recorded guest slots, not as much technical know-how is needed: simply being able to link the songs and keep the listeners entertained is the main thing. Rather than have to sweet throwing to the news at the right time and deal with callers; get the right faders primed and all the other responsibilities involved, it seems more casual and less stressful when you hear someone like Rob Delaney on BBC Radio 6 Music. I know my shot will never come or, if it does, we are talking many years in the future. Rather than assume responsibility for a full-time show and get up at ungodly hours, there is something dream-like when you can pre-record a show and have the once-a-week thing happening! I have already got into the nerdish position of formulating my own playlist, you know, just in case that emergency call comes through – God knows how bad things would have to be if I was on the list (although it would be a very natural and cool thing for me)! I have really enjoyed Rob Delaney’s run and he has opened my eyes to some new tunes and artists. Like all radio shows and presenters, it is not just about the music. One gets to know a bit about the person behind the microphone and why that music matters to them. Every song holds personal relevance and, to me, that comes through when you hear people like Murphy and Delaney speak so passionately.

 PHOTO CREDIT: @markusspiske/Unsplash

So, then…it is going to be interesting seeing what Freeman does and, as I mentioned, I am one of those people who would love to do a one-off; a dream-come-true-like fever-dream where I can play all those tracks that have shaped me. On the 1,000,000/1 shot I actually have the chance one day, I won’t reveal which songs will open and close the show but, like so many music-loving nerds around the world, we would all love that chance to crank out the tunes and explain to the willing listeners why music moves us! Opening your channels (no pun intended!) to new talent and broadening the schedule not only provides freshness and these unique shows but it provides future mobility. Who knows whether BBC Radio 6 Music will shore up some time during the weekend for guest mixes; where people from film and the arts can come and talk about music important to them. My ultimate dream is actually being in the same seat as Rob Delaney and (soon-to-be) Martin Freeman and there is that mix of delirium and frustration that you’d have. It’s unbelievable to think you can broadcast to thousands of people and, for two/three hours, play the songs you want. If you were there for a week or a month(or longer) there is this dilemma: Which songs do you include and, invariably, which do you have to leave back at home?!

 IN THIS PHOTO: St. Vincent (Annie Clarke) would be a perfect fit for a BBC Radio 6 Music run of shows/PHOTO CREDIT: Getty Images

Whatever you have going on, bid a fond farewell to Rob Delaney on 7th July at 2 p.m. and, from the same the following week, tune in and see what Martin Freeman has to offer. I wanted to write about this same subject again because, having spent time with Rob Delaney and thrown away some of my reservations regarding new faces coming in, I wonder where this might take BBC Radio 6 Music – and other stations for that matter! I, and many, would welcome more names into the station and, so long as there were women among them, it would get me hooked. I do not often listen to BBC Radio 6 Music on Sunday but I would be more invested if a new format/space was opened. As with the dilemma of selecting which songs you’d pick if you had your own show, which names would you want to present? Joe Talbot was solid when standing in for Iggy Pop and I would love to hear St. Vincent spin her favourite tracks. From the world of film, comedy and the stage, I know there are some big names, from the U.S. and U.K., that would do a great job- I can think of a couple of great female directors in the U.S. who, I am sure, would provide a compelling show. That is all speculation and musing but I have loved listening to Cillian Murphy and Rob Delaney hit the decks and, as Martin Freeman prepares to take to the chair, I am sure a whole new wave of listeners will be tuning into BBC Radio 6 Music for the first time. I am sure there are countless fans of the station who would relish the chance to get their own slot and, really, it all comes down to that question regarding the opening track:

 IN THIS PHOTO: Guy Garvey will be returning to present his Finest Hour show later in the year/PHOTO CREDIT: Getty Images

“WHAT would you go for?”

FEATURE: Confirmation of Legends: IDLES’ Glastonbury Set Shows They Are Britain’s Most Important Band

FEATURE:

 

 

Confirmation of Legends

 PHOTO CREDIT: Jenn Five/NME 

IDLES’ Glastonbury Set Shows They Are Britain’s Most Important Band

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YESTERDAY’S Glastonbury performances highlighted…

 IN THIS PHOTO: IDLES stormed the Park Stage yesterday/PHOTO CREDIT: Louise Mason for DIY

a few things that make me proud to be British. To be fair, there is not a lot that does make me proud right now but, in the way people showed love, togetherness and peace at Glastonbury, it made the music come alive and resonate. I have seen pictures and videos from the day – I am not down there myself – and, as Friday progressed and we saw great sets from the likes of Sheryl Crow, there was only one name on the lips of many: the incendiary and biblical IDLES. I have been keeping my eyes on the band for a couple of years now and, like many, my first real taste was 2017’s BRUTALISM. That album marked them out as something rather special. Their 2018 follow-up, Joy as an Act of Resistance won even bigger reviews and, in my view, the songwriting stepped up. They managed to articulate the sense of anger we have in the country and shot back at politicians who want to block immigration and change the country. From tackling toxic masculinity to scolding those who want to take Britain in the wrong direction, that album is rightfully heralded as a bit of a masterpiece. It is a Post-Punk gem that has moments of intimacy and sensitivity among the explosion and anger. Led by the seriously cool and whip-smart Joe Talbot, the boys’ music shows its intellect but is in touch with the people. They are a band who can understand us all and are talking for us.

PHOTO CREDIT: Tess Janssen Photography

That is one reason why Joy as an Act of Resistance connected with so many: the band are expressing what we feel and opening our eyes at the same time. If you have not heard IDLES’ latest album, you need to catch up with it and let it inspire. The reviews, as I say, where immense and NME were keen to lend their praise:

“You could blow your entire word-count on quoting Idles’ amazing lyrics. ‘Samaritans’ attempts to annihilate toxic masculinity as Talbot screams, “This is why you never see your father cry,” before roughly 1000 guitars pile in on the defiant line: “I KISSED A BOY AND I LIKED IT.” On the towering ‘Colossus’, an ode to addiction, he rages: “I’m like Stone Cold Steve Austin / I put homophobes in coffins.” The nuance – the attention to detail – in the compositions, though, may be what makes ‘Joy As An Act Of Resistance’ so rewarding to return to.

Everything about ‘Joy As An Act Of Resistance’ is just so perfectly realised. The band began to write the album immediately after they finished work on ‘Brutalism’ – and it shows. The songs feel lived in, the record’s overarching message – that of the necessity of unity, positivity and loving yourself – so empowering that it almost amounts to an entire worldview. It’s even more powerful for the fact that Talbot worked on the album in the midst of massive personal trauma. This is a proper classic punk album, one that people will turn to in times of need, one whose authors are unembarrassed about still believing that art can manifest positive change. As Talbot roars on ‘I’m Scum’: “This snowflake’s an avalanche”.

It is not just the music from the guys that is making me and everyone else pretty excited. There is this feeling that they are speaking more truth than our leaders and have hit peak form at a time when the country needs guidance and compassion. Talbot and the guys are a band that have quotable lyrics a-plenty but they match this with songs that burrow in the head and provide a release. One can feel vulnerable when listening to IDLES and hear from these bold and revealing men who let their emotions out. It has been a while since we have found this band that gets into the head the same way as IDLES. A lot of people bemoan the lack of anthemic bands today and how we have few artists that can join us and make us feel better. IDLES are definitely starting a revolution and, in their wake, bringing through bands like Fontaines D.C. – another band that will be huge very soon. I do love the band chemistry and how close they are but, to me, their singer Joe Talbot is a person who has helped so many people with his lyrics and interviews. IDLES are, of course, more than the sum of their lead but I wanted to bring in Talbot because he has always spoken to me. He has experienced family tragedy and loss and has this courage and resilience that is incredible to see.

 PHOTO CREDIT: Dork

In this interview with Long Live Vinyl, Talbot talked about his feminist views and misogyny in the music industry:

“Joe is a self-confessed left-wing feminist. His love for his fiancé Beth and late daughter Agatha: “A stillborn was still born / I am a father” as he sings on the heartbreaking June (a nod to the month in 2017 when he lost his baby girl), shines through. It follows that he’d want to do everything he could to protect his family, something else which shines through. With fellow bandmates all in committed relationships, and against a backdrop of high-profile cases of alleged sexual assault and abusive behaviour towards women in the music industry, Idles want to make sure they are clear on the issue and they have a statement to share with anyone trying to cross a line.

“We’ve never had anyone approaching us and propositioning us but we were worried that, you know, that might happen,” explains Joe. “We wanted to have something there that, should something happen, we know what we said – something respectfully saying we’re in a committed relationship and it’s inappropriate and we’re not at all about that as a band.

“There’s such a lot of bullshit around the old guard of rock ’n’ roll and misogyny and casual this that and the other, and it’s extremely dangerous. We have a certain amount of power, and some musicians and some artists probably use that to their advantage, but we want to make it clear to people that we’re not like that at all. We’re not the slightest bit interested in that bullshit. It’s just not part of our make-up. We’re highly unlikely to get in any sort of difficult position because we all have partners that we love. And we’re old and fat”.

IDLES are the complete package and it is humbling seeing them rise and conquer new lands. They have grown from this talked-about group who were promising and primed for big things and am now achieving them. Their music mixes political, personal and social and everyone can relate to what they are throwing down. Rather than focus on relationships and personal heartache, they are a band who want to talk about things more important and universal. Like Fontaines D.C., slowthai and Stormzy, we have these fantastic artists emerging who know what a state the country is in and are not willing to sit back. IDLES have helped break down barriers regarding mental-health and toxic masculinity. They are the sort of band we want young people following and looking up to. IDLES are just calming down from their set at the Park Stage yesterday and they show no signs of slowing down now. DIY reviewed their set and were suitably blown away by the performances:

“From the moment the now iconic stabs of bass that open ‘Colossus’ announce their entrance, it’s clear that tonight will be a classic; IDLES have ticked off almost every checkpoint on the way to becoming a truly big, truly huge band, and on the week that they announced a show at London’s Alexandra Palace, they can add Glastonbury to the list of defining steps that are quickly making them one of the country’s greatest.

‘Danny Nedelko’, dedicated to “all the immigrants that make this country a better place”, has become a bonafide anthem, and when the set closes in a customary thrash through ‘Rottweiler’, it feels like - for a band whose last two years have been packed with formative moments - their long-awaited appearance at Worthy Farm has immediately become their greatest. They can go anywhere from here”.

The IDLES tour bus will rock on and they will be busy boys for a while yet. I have mentioned Stormzy already and feel like I should write a piece about him. His headline set yesterday tore the roof off and people are still talking about it. He made history as the first black British artist to headline and he proved those wrong who doubted his credentials and headline-readiness. I shall come to him later but I think we have these great artists who are uniting us and talking the truth. Stormzy might well be the most important solo artist in Britain; someone who is in his own league and is going to get even better. To me, IDLES are the biggest and most important band of the moment and I do think, as they grow, there is nobody that can touch them. Their thrilling set at Glastonbury yesterday proved they are one of the best live acts in the world. The world definitely needs IDLES right now and, as the band keep dominating, thrilling and hitting new peaks, we are all so glad…

TO have them in our midst.

FEATURE: The Curious Case of black midi: Are They the Most Divisive Band of the Year?

FEATURE:

 

 

The Curious Case of black midi

PHOTO CREDIT: Daniel Topete 

Are They the Most Divisive Band of the Year?

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THERE are acts that come along that seem…

 PHOTO CREDIT: Dan Kendall

to split opinion. I do think this year has been synonymous with solo artists – as have the past few years - but there are a couple of great bands emerging. One that has seemingly sprung from nowhere are black midi. Aside from the fact they stylise their name in lower-case lettering (which always bugs me!), there is not a lot out there about them. As you will see from this feature, they do not have many great photos and you feel they are one of these acts that feel the music can take care of itself – without the real need to put much out there in the way of visuals. In any case, this feature stems from an interaction I saw on Twitter after black midi performed for Steve Lamacq on BBC Radio 6 Music. The band were given free reign to do what they wanted in their set and, for all accounts, it was a pretty unleashed and freestylin’ performance. The guys let it all loose and, whilst that seemed to appeal to those who like their music unpredictable and free, some found the performance lacking in any focus and a bit tough on the ears. I shall not name the person who raised the point regarding their hype but it made me think whether, with the media showing them a lot of attention, are they a band that will struggle to fulfill their potential? There is definitely a lot of buzz around them right now – and I shall bring out some relevant articles.

To be fair, there are photos in these pieces but, if you look at black midi’s social media pages, it is a bit photo-lite. Anyway, CRACK is full of love for the band:  

 “Fast forward to 2019, and the group are on every hype-chaser’s hitlist. Under the name Black Midi, they’ve been talked about in not-so-hushed tones as one of the country’s most exciting new bands. An indefinable group, pushing guitar music into strange, hypnotic territory. Not that the four of them care much for the hyperbole – today they’re far more concerned about my bowling skills.

It almost seems incongruous that this ragtag, calamitous bunch (completed by guitarist Matt Kelvin) could be producing some of the UK’s most cerebral new music. Their sound calls to mind everything from Battles, to Anna Meredith and This Heat. As it turns out, though, Black Midi’s music might not be as meticulously constructed as it may sound. “It’s weird,” says Geordie. “It’s not like we were like, ‘Ooh, we all like this crazy music’. It’s just that we were friends, innit,” he shrugs, as if any group of schoolkids would come up with these sounds on a whim. “We didn’t set out to make this music; it’s just the music that came out,” agrees Cameron”.

The band are relatively new to the interview game so, in terms of revelation and depth, I think it is still a learning process for them. In any case, vocalist Geordie Greep has been speaking with various peeps as the band’s album, schlagenheim, is out now.

Loud and Quiet caught up with the band and made some interesting points regarding their gig style:

“It’s the same story when you see the band live: audience interaction is kept to a minimum while the group seem much more at ease communicating simply with each other. It’s all part of their musical chemistry, and their live shows feel like the product of a highly intuitive hive mind where individuality is not important. The focus is on each member’s contribution to perfectly executing the group’s bastard musical hybrid of clanging math-rock, visceral noise and frantic post-punk in the best way possible. At times it has a real sense of humour. At others it’s exhilarating. Sometimes it’s just bloody good fun. But Black Midi are deadly serious about their art and Greep constantly refers to the idea of ‘progression’.

Piercing, demonic and often operating as another jarring layer rather than a narrative Centre point, Greep is a volatile force at the helm of Black Midi; where everything else feels calculated. He feels like a feral dog ticking and scratching. Behind him, a razor sharp rhythm section keeps everything moving along with a steady immediacy. Morgan Simpson’s improvised drum fills are “the key” to the band’s regimented stomp, whilst Greep and Kelvin’s guitars constantly sound like a hexen battle cry. Live, they are an absolute unit, a singular power that is unlike any other currently playing in a pub near you.

Black Midi’s music is an enigma, but for the most part the group are very much shy and unassuming. They might be the talk of the town, but their introverted minds are elsewhere. “We’re not wild guys,” Greep mutters, “we really don’t go out partying.” Quite. Greep is visibly disinterested by talk of hedonism, but his face lights up when he finds out that I share his passion for composer Meredith Monk”.

In this recent interview with Sterogum, it seems like the attention courting black midi comes as a surprise to them – according to Cameron Picton and Geordie Greep:

“Being able to identify the incremental steps that led to this point, the members of Black Midi are more prone to characterize their growth as “a slow burn.” They are, mostly, nonplussed about the attention upon them so far; they are also likely to casually downplay some of the mythologizing that’s already occurred with them, such as the idea that they were this mysterious London entity intentionally maintaining total obscurity on the web. “It was exaggerated a bit to fit the narrative,” Picton argues.

At the same time, when I ask if they bristle at being described as some kind of shadowy art collective, Greep grins slyly and responds: “There are worse things to be described as”.

Before moving on, this review of schlagenheim from The Guardian highlights some aspects that might put off some from dipping their toes in the sea of black midi:

“At their least appealing, there’s no doubt that Black Midi can sound pretty pleased with themselves. Bmbmbm features a one-note bass riff interspersed with propulsive explosions of noise, over which Greep offers variations on the phrase “She moves with a purpose” in a succession of different voices, from drawl to gibber. It’s the kind of idea that Damo Suzuki-era Can might have fruitfully explored – indeed, the band have backed him in concert – and bears a certain resemblance to the early Butthole Surfers track Something, although you struggle to locate any of Can’s warmth, wit, funk or soul here, or the Butthole Surfers’ lysergically enhanced sense of fear and loathing. Or, indeed, what the track is supposed to be communicating. Without any of that, it’s hard to avoid a sensation of po-faced seriousness, of music that exists largely in order to make its authors and fans feel superior to the hoi-polloi with their risible dependence on melodies and lyrics.

PHOTO CREDIT: Daniel Topete 

It’s a failing, but it’s far from the whole story. The early hype around the band has come replete with a lot of Emerson, Lake & Palmer-ish stuff about their technical virtuosity and dexterous musicianship. This occasionally finds its expression in showily complex flurries of widdly-woo guitar, but it comes into its own when, led by drummer Morgan Simpson, they lock into a groove that manages to be hypnotically repetitious while constantly shifting and changing, as on opener 953 – a riff that initially sounds like the needle on a grunge record sticking, subject to a succession of shifts in tempo and style – or Western, which boasts a vaguely country influence in its circular guitar pattern. There are a succession of moments where the striking juxtapositions deliver a really powerful kick, like a film cutting sharply between contrasting scenes: Of Schlagenheim suddenly divests itself of its angularity and becomes a gently beguiling drift two minutes in; Years Ago shifts from motorik pulse to screaming noise and back again”.

When people want to praise black midi – as many have – there is this effusiveness and sense of a band breaking rules and not following formulas. It is clear they have a way about them and, despite the fact they are BRIT School alumni, they are definitely not your commercial act trying to sound like Adele! Personally, I am sort of split between applauding their sense of experimentation and bringing something fresh to the world but, at the same time, their live performances and style is not for me; on their debut album, a lot of the songs do take you aback and it is hard to get on board.

Maybe it is a slow burn regarding black midi: special artists do take a while to fully embed and it might be a case of giving the music time. It is clear black midi are exciting and are taking guitar music to new heights but I wonder, at a time where we have aggressive bands like Shame and IDLES doing their thing, whether there is a bit too much anger. I love what black midi stand for but I have heard comments from people regarding their ‘noise’ rather than the music. The songs are clever, for sure, but there is an awful lot to take in. Going back to that discussion around the Steve Lamacq live set and I have to agree that it was less a case of brilliant unpredictability; more a sense of a band let off the chain and not able to reign it in. Although their music has captured the hearts of many, I don’t think they have the same appeal and broadness as, say, IDLES or a band like that. I know most artists will have detractors but there is a definite split when it comes to black midi. You either love what they are doing and congratulate their less-than-orthodox approach or you find their music a little too scattered, pretentious and hard-going. For sure, these are early days and the band will grow and evolve but I think the attention they are getting is likely to face some resistance.

They are, I feel, the most divisive band of 2019 but, maybe, that is not a bad thing. The media passion and fanbase they have is clear but I also like the fact they are challenging and a bit out-there. If they toss in a chaotic live performance once in a while then that does at least stand them out from the pack. So many artists are rigid and overly-rehearsed and it can lead to somewhat stale songs and live performances. To their credit, black midi like to have a bit of room to manoeuvre and catch you by surprise. Those that do not like black midi will look at their new album and see that some songs run on and on – what if they had trimmed them and showed a bit more economy in the studio? They will also highlight that schlagenheim’s tracklisting and programming is not the best and the contrast between the ‘tighter’ songs and the meandering ones is hard to absorb. The Line of Best Fit , when they reviewed schlagenheim, summed the band up pretty neatly:

“Put simply, not a lot about black midi makes sense in isolation, as ‘sense’ is an idea they toy with, scramble and reconfigure into the air of mystery that runs throughout the entire project. If bands like Can or The Residents or Public Image Ltd only existed on paper, you would imagine that they’d sound a lot like black midi (and vice versa), but it is only through direct experience with the songs that make up this exceptional album that we realise that there are some things (including track names) that are best left unsaid, virginally awaiting the experience of the listener.

And with that, there’s just nothing more to say. Listen or don’t, black midi will happen either way”.

PHOTO CREDIT: Dan Kendall 

It is clear black midi are not trying to please everyone and it is their sense of the unexpected that is causing this division – albeit it, a very interesting one! I am not their biggest fan but I can understand those who are worried by all the attention and whether the media are going a bit too full-on in their praise. They are original, for sure, but does the music stand up after repeated listens and will we be talking about them in years to come? Also, in a year where there is a lot of heavy and striking music, are they offering us more squall and volume as opposed truth, inspiration and depth? Those who adore them will counter with the argument (black midi) are taking risks and who wants them to sound like everyone else? It is their natural boldness and instinct that is getting people revved and stirred. I like the lads’ quirks and fire; I do like the fact they are breaking new ground and have released one of the most talked-about records of the year. Even though they are not 100% my cup of tea, they might well win me over yet. Looking online and it is clear there are plenty who do not ‘get’ black midi and would rather they were a bit more accessible, restrained and tight. That is a fair criticism and one can respect that opinion. Black midi have definitely divided opinion and have their detractors and against the tide of praise and hyperbole, there are many who are raising eyebrows and turning up their noses. The band are messy and intelligent; they are freewheelin’ and in-control and, as these contrasts show, black midi are…

DEFINITELY not boring!  

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Grace VanderWaal 

An All-Female, Summer-Ready Playlist (Vol. II)

__________

IT truly is summer today…

 IN THIS PHOTO: Violet Skies

and it is the hottest day of the year! I am not sure whether people are in the mood for music but, as it is nice outside and it’d be good to have some sound in your ears, why would you not want to tuck into a new batch of female-led sounds? It is another great week for music and I have collected together some of the best female artists around. If you are a fan of Pop, Folk or something a bit more raw, I know you will discover something in the playlist below that will capture the imagination. Take a good look at the wonderful artists included and, on the hottest day of 2019 so far, it is clear that the music is as hot…

IN THIS PHOTO: Amahla

AS the weather!

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

____________

Grace Gillespie – Pretending

PHOTO CREDIT: Alexander Aitken

Chela – Losing Belief

Angela Perley - 4:30

PHOTO CREDIT: Jess Gleeson

HANDSOME – Delete You

Violet Skies – I’ll Buy a House

Rosemary Fairweather – On the Radio

Grace VanderWaal – Ur So Beautiful  

Annie Hamilton – Kitchen

Sasha Sloan – Dancing with Your Ghost

Pip Millett – Do Well

Valerie Broussard - Actually

Cyanca – Patti Mayonnaise

Chloe Foy - Without You

MUNA – Who

Arctic Lake – Shed a Tear 

Tori Kelly – Sorry Would Go a Long Way

Sui Zhen – Perfect Place

Iggy Azalea – Just Wanna

Julia Michaels – Work Too Much

Delacey – The Subway Song

Flohio – Hell Bent

Ingrid Michaelson – Best Friend

Josie Dunne – Mute

Amahla – River (Demo)

LIZ LOKRE – Wait on Me

BENEE – Afterlife

Celine Love – Rose Coloured

Bleached – Hard to Kill

PHOTO CREDIT: Pooneh Ghana

Lucy Dacus – Forever Half Mast

FEATURE: The June Playlist: Vol. 5: Armies, Arsenal and a Stirring Dawn Chorus

FEATURE:

 

The June Playlist

IN THIS PHOTO: Kate Nash/PHOTO CREDIT: Kelsey Hart 

Vol. 5: Armies, Arsenal and a Stirring Dawn Chorus

___________

THIS is a week where there are some big names…

 IN THIS PHOTO: Thom Yorke

in the pack but, for the most part, the smaller songs make up the majority. That being said, we have new singles/videos from Kate Nash, Thom Yorke and Madonna; Liam Gallagher, Janet Jackson and The Black Keys! If that was not enough then Brittany Howard, Sigrid and Lucy Dacus have some cracking songs out. In a weekend where we will see some huge temperatures and we have Glastonbury raging, it might be hard to focus on anything else! I would urge people to dip into the playlist below as there are some great songs that will definitely provide something fresh. Such is the variation this week that there are going to be tracks that will stick in the mind and get you moving. Have a good listen and, whilst the weather is pretty toasty, make sure you keep cool and let these tunes do their work. Despite the lack of huge names in the pack, there are some wonderful cuts that are worth…

 IN THIS PHOTO: Brittany Howard/PHOTO CREDIT: Brantley Gutierrez

SOME serious time.  

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

__________

Kate Nash - Bad Lieutenant

Liam Gallagher – The River

Janet Jackson – Whoops Now!

Thom Yorke – Dawn Chorus

Madonna – God Control

The Black Keys – Tell Me Lies

King Gizzard & The Lizard Wizard - Organ Farmer

PHOTO CREDIT: Eric Ryan Anderson for Billboard

Brittany Howard – History Repeats

Cardi B – Press

Blanck Mass - No Dice

Sigrid - Mine Right Now

James Bay – Bad

Iggy Azalea – Just Wanna

IN THIS PHOTO: Ed Sheeran/PHOTO CREDIT: Nic Minns

Ed Sheeran (ft. Khalid) – Beautiful People

Ellie Goulding (with Juice WRLD) – Hate Me

Julia Michaels – Hurt Again

IN THIS PHOTO: Marshmello

Marshmello, Flux Pavilion, Elohim – Room to Fall

Grace VanderWaal – Ur So Beautiful

Céline Dion – Flying on My Own

Sasha Sloan – Dancing with Your Ghost

Lucy Dacus – Forever Half Mast

Neck Deep – She’s a God

Tori Kelly – Sorry Would Go a Long Way

PHOTO CREDIT: Daniel Moll

Korn – You’ll Never Find Me

PHOTO CREDIT: Ken Grand-Pierre

Foy Vance - Moving On

PHOTO CREDIT: Julian Hayr

The Soft Cavalry - Never Be Without You

Bleached – Rebound City

Kim Petras – Icy

Josie Dunn – Ooh La La

Flohio – Hell Bent

FIDLAR – Flake

PHOTO CREDIT: Dan Wiebe

Chloe Foy – Without You

IN THIS PHOTO: Billie Marten

SONNY SANTOS AND BILLIE MARTEN - SWEAR 2 G-D

PHOTO CREDIT: Dan Wilton

Friendly Fires – Silhouettes

Moon Taxi – Restless

TRACK REVIEW: Liam Gallagher - The River

TRACK REVIEW:

 

Liam Gallagher

The River

9.4/10

The track, The River, is available via:

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

GENRES:

Rock/Alternative

ORIGIN:

Manchester, U.K.

RELEASE DATE:

27th June, 2019

LABEL:

Warner Music UK Ltd.

The album, Why Me? Why Not, is available from 20th September. Pre-order here:

https://liamgallagher.com/whymewhynot/

__________

AS the excitement of Glastonbury…

 PHOTO CREDIT: Amy Sussman

continues to bubble and explode, there are countless highlight ahead. Yesterday’s performances were terrific and everyone will have their own favourites. Somewhere among the rabble, there would have been these sets that will live on: IDLES, Stormzy and Sheryl Crow are all getting huge reception from their turns. I will talk more about Glastonbury later but, when talking about Liam Gallagher (who is also at Glastonbury this year), I am compelled to remark on natural festival acts and showmen(women); idols and rebels in music and why the likes of Gallagher are both inspiring and rare; why Gallagher’s music is improving and how, as he is calming slightly, it brings out new sides; whether Rock can ever be truly seen as ‘dead’ – I will talk a bit about where Gallagher might head next. I think the best sets from festivals are those where there is a bit of energy and performance. I am not saying the slightly quieter sets are lacking but there is something about those big and bombastic sets that really get into the mind. Think about what Stormzy delivered yesterday and the reaction he is getting. He sort of tore up the stage and proved his headline status. It is remarkable seeing how artists step up when it comes to Glastonbury and how they deliver these remarkable performances. Liam Gallagher, as part of Oasis, is no stranger to the big stage. He, to me, is one of the most natural festival performers in the world. He has this natural way that can whip up the crowd; his singing is incredible and he always brings the swagger. As he has (slightly) aged, that physicality and showmanship has hardly alluded him. We do not have as many natural leaders and showmen in the music world as years before (I feel), but there are a few coming through. I do think a lot of the new breed takes their lead from the likes of Gallagher. Not only has the Mancunian artist created some of the best music of our generation but, in terms of the live performances, Gallagher has given us a lot of joy.

There is that argument as to whether Gallagher goes a bit too far at time – recent newspaper reports regarding possible domestic abuse cannot be ignored and written off as part of being a Rock star. When it comes to the music and the thrill of live performance, there are few as electric and scintillating as Liam Gallagher. He has this in-built energy and cheekiness that means the songs come alive. He can own the stage and, in his traditional pose – arms behind the bag, head forward and that masterful, fixed position – there are very few who have the same gravitas as him. Although the recorded music is key, I do love those artists who can take that material to new heights. We all love albums and singles but the live performance takes that material somewhere else. It connects with the audience and gives it an edge you cannot get from the original version. Liam Gallagher has been talking about past performances and, it seems, this year allows him to set the record straight. This article from NME finds Gallagher talking about his love of Glastonbury and how there was one aspect of performance that riled him a bit:

 “Gallagher told BBC 6 Music’s Matt Everitt: “I’ve always enjoyed Glastonbury. There’s only one that I didn’t and that was when I wore a white jacket. I didn’t enjoy that because that was when I’d first started using in ears [monitors to hear the music] and it’s spun me out for 15 years. I’ve only finally took them out so I’m kind of getting back to normal. I hated that gig, man.”

Gallagher added: “I started putting in-ears in as our kid wanted to go Slash, you know what I mean, and turn everything up. So I put them in for the sake of the band and my voice and all that, but I couldn’t get my head round it and then I carried on using them just because, apparently, they’re good for your voice and saves your voice. But I’m off them now, weaned myself off them, they’re horrible.

“You know what it is, with those in ear things you just feel like you’re in the studio, and you can’t have that. You need the interaction, you need the vibe, so yeah it was horrible, I didn’t like it. I mean I enjoyed myself after it because you soon put it to bed, you get off your head and all that and I enjoyed the vibe. But the gig, nah, wasn’t for me”.

 PHOTO CREDIT: Tom Jamieson

Linking into the subject of showmen(women) and why they are a rare breed, how many real idols and rebels do we have right now!? I guess IDLES, in a way, have a bit of Liam Gallagher to them. I can trace so many modern bands/artists to Oasis and what Liam Gallagher has given the music world. Back in the 1990s, Oasis lit up music and gave us some of the finest anthems of their day. Liam Gallagher was a superstar and someone who inspired the masses. Even now, Gallagher is this outspoken and always-cheeky artist who tells it like it is. He has been talking about knife violence in London and how he fears for his children living there. Gallagher knows politicians need to do more and, rather than hide his opinions away, he is always willing to share them and speak out. Some might say that lack of filter can lead to trouble but, as Gallagher has aged, he has become wiser and he is actually reformed in many ways. One of the worst aspects of Gallagher back in the day was the fighting and drinking; times when he took the Rock ‘n’ Roll idol thing too far and caused more destruction than positivity. Maybe that was part of the lifestyle but he has settled a bit – that is not to say his edge has evaded him! In fact, Gallagher is this always-ready idol who is compelling other artists in terms of their opinions, live performances and attitudes. I do think music is still pretty safe and soft, and so, seeing artists like Gallagher add a bit of spice into the mix is very satisfying. Whether rallying against politicians or taking a shot at his brother Noel, Gallagher is a refreshing breeze that needs to remain for as long as possible. Maybe his solo material is not quite as raw as some of Oasis’ biggest tunes but he has not done what a lot of his peers have done and softened his touch.

 PHOTO CREDIT: Q magazine

There is no doubt Liam Gallagher is an idol who has roused musicians into the industry; to take a stand and give us something thrilling and exhilarating. Being rebellious sounds like a bit of a hassle and, as I said, so many artists do not have that necessary swagger. I guess you need to be careful what you say and not cause too much trouble but, as bands like IDLES are showing, letting it all go and truly connecting with the crowd is awe-inspiring. Maybe they have not taken directly from Liam Gallagher but there is a link between them. The former Oasis man was never afraid to hold back and giving the music that unpredictable nature is bewitching. Now, as the established legend he is, he continues to make the news and turn heads. Rather than make the news constantly for getting into trouble – there was a period during Oasis’ heyday where that was a daily reality – Gallagher has grown a lot and knows that he needs to calm his head a bit. There is a new documentary out focusing on Liam Gallagher and, as the article below highlights, there is a vulnerable, sensitive side to Gallagher:

“The viewer senses that the final missing piece in this tale of redemption is Noel. When Liam visits the Gallagher family home in Burnage, Manchester, he looks round the room he shared with his brother, happily explaining how their feud really began (he urinated on Noel’s stereo). When Liam is asked what he would do if they met after ten years of estrangement, he says he is unsure—that he might give Noel a “love bite”. Liam’s social-media provocations (“To all you [Noel Gallagher] fanboys I can and will sing any song he wrote bigger better than him even if I was kicked in the bollox by a wood pigeon”) and invitations (“...I forgive you now let’s get the BIG O back together and stop f***ing about the drinks are on me LG x”) are considered by the film’s talking-heads as child-like manifestations of love. He misses his brother, and, as explained by those closest to him, he wonders what Noel thinks when he releases new music. Indeed, Noel’s mark on the film goes beyond mere sentiment. After watching the film ahead of its premiere, he refused to allow any Oasis songs to feature”.

Before coming on to that age-old question as to whether Rock music is dead or not, I do feel like we need to address Gallagher’s musical development. His 2017 debut album, As You Were, got some great reviews and, although there was a lot of expectation regarding his capabilities as a solo artist, he turned in a great album. I actually reviewed the album when it came out and, although I liked some of the songs, I felt it lacked the best of him. Maybe it was the songwriting and lyrics or perhaps it was the production. There was something missing and it did trouble me a bit. There is no denying Gallagher’s talents as a performer and singer but, when it comes to the songwriting, has the secret ingredient been Noel Gallagher?  Maybe the fact Oasis seemed to capture a spirit of the times back in the 1990s was what made Gallagher pop. I was asking myself whether Gallagher would record another album and, with Why Me? Why Not out in the autumn, I can see improvements coming in. With the track, Shockwave, already out, he has brought us a new cut in the form of The River. In some ways, it is business as usual for the northern star. He has not strayed too far from his vocal style and patterns but, in terms of the songs themselves, there is a big step forward. The lyrics seem more original and they connect more freely. The compositions are deeper and more interesting and I think Gallagher’s voice has strengthened in the past couple of years. I still think the production is a bit too polished but, as I shall explore when reviewing his new single, Gallagher is at his most strident and striking when there is a bit of polish in the production. It is really challenging stepping away from a big band because everyone always associates you with them. Proving your worth in any other context takes time and some people are always going to have these huge expectations.

 PHOTO CREDIT: Neale Haynes

Liam Gallagher is a natural solo artist and shows he does not need Oasis to make him relevant. His solo album did get some great reviews and I think his sophomore album will fare even better. There is a bit more maturity this time around and the songwriting is sharper. Maybe it is the fact the world has moved on since 2017 in terms of politics and his personal situation. Things were pretty tense and shaky back in 2017 but the world has got even less sure since then and, in Gallagher’s life, there have been some changes and challenges. He seems to put all of this down on the page and his voice carries a certain hue. That said, the man has not lost his sense of light and energy and he manages to turn songs like The River into real gems. Gallagher is a stunning singer and I do not think he gets the credit he deserves. I love the fact that he is still making music decades after Oasis broke and I do hope he continues to craft great songs for many more years to come. I will conclude by indicating where Gallagher is heading next but it seems like he has the same love of music he did when he was in Oasis. Some artists phone it in a bit and you can tell they have lost some of that spark. That is not the case with Gallagher who is as invested and passionate as he always was! One only needs to listen to a few moments of The River and you can tell how much he loves what he does. I do feel there has been an improvement in terms of Gallagher’s material and he is a lot sharper and more nuanced than before. As You Were was a good album but I worry there was something lacking. Maybe it was the people writing the songs or something else but I felt more could have come through. Gallagher has definitely responded and he seems a lot stronger this time around.

I will review his latest track very soon but I want to respond to something I read in The Guardian where Vampire Weekend’s Ezra Koenig claimed Rock is dead. He was talking about a lot of different things – including Glastonbury – but his observation definitely drew some criticism. Maybe we do not have the same bands as we did back in the 1990s or last decade but that is not to say Rock is dead. We always get this debate rising up regarding Rock and whether it has functionality in the modern day. Perhaps people are comparing today with the best of decades past but to say Rock is dead is quite short-sighted. I have already mentioned IDLES and there are other bands (such as black midi) that are showing Rock is developing and alive. Maybe Rock has changed through the years and we do not have the same raft of bands we once did. The solo artist has taken over to an extent but that is not to say bands lack clout. With some terrific acts coming through, I don’t think anyone can really say Rock is dead. It is not as loud as it once was but that is just a sign of the times. Music evolves and new tastes emerge but, as has been the case for decades and decades, Rock continues to appeal, influence and shout. Liam Gallagher should know because, back in the 1990s, he was surrounded by so many great Rock bands. He would claim they were inferior to Oasis (most of them were) but he exists in a world where Rock is still vital. Rather than retreat and adopt a new style, Gallagher continues to swagger, stride and generally give a bit of a finger to the establishment. Maybe he has some opinions on the modern breed but even he cannot say modern music lacks intensity and edge. I do wonder what compels the constant discussion around Rock and whether it has life anymore. Perhaps we all do get into this mindset that looks back rather than forward.

I am one of those people who loves the classics from the 1960s, 1970s and, especially, the 1990s but that does not mean I think modern music is irrelevant in comparison. Other genres have come onto the scene that are mixing alongside Rock. We have Post-Punk bands like IDLES and there are great new acts like Amyl and The Sniffers who are giving the world their own style of spit and attack. I would urge anyone who feels Rock is lame to have a look around and see what is shaping up at the moment. Yes, we will never see the wealth of Rock bands we had back in the 1960s and 1970s but that is because the times have changed. Music is a vast and open market and Rock still has a very big part to play. At a time when the world is divided and we are not too sure what is happening regarding international affairs, climate change and the like, I feel Rock is more relevant and needed than ever. I have nothing against other types of music but there is a collective tension and sense of anger that needs articulating in music. Artists are responding to this and I do believe there are a lot of underground artists ready to shine and emerge to the surface. Maybe the argument regarding Rock and its lifespan comes down to taste and whether people like Ezra Koenig feel the current crop is as strong as the older order. That is a personal thing but I do not think one can write off Rock and say that it is dead. Liam Gallagher, I am sure, would argue against the notion Rock is fading away because he is still rocking pretty hard. As a definite role model for so many modern artists, Gallagher continues to lead the way. He is an unfiltered, uncontrolled and natural rebel with a big heart; a man that has as much spirit as he did back in the 1990s and living proof that Rock has plenty of spark left in it!

The River kicks off with a definitely sense of purpose and grit. I remarked how Gallagher’s debut album was a little too polished and, on this track, there are not as many production layers. One can detect this vintage sound that harks back to the 1960s and 1970s. This means that, before a word is sung, you have this very welcomed sound that gives the music more atmosphere and oomph. The lyrics themselves, I feel, are sharper and more interesting than a lot of what was on his debut. In terms of the first verse, Gallagher talks about people going weak the knees; those afraid of the “thought police”. There is a sense of naivety and ignorance; maybe people writing off his/our generation and saying that we are forsaken. Gallagher acts as this preacher (albeit a calm one) who is asking for people to open their eyes and get this heads out of the “clouds of weed”; out of the “time machines” and to actually make a noise. It is clear that Gallagher wants change and knows that it is coming. Maybe he is striking against the Government and their ineptitude but he is calling for action. Maybe there are those who live in the past and live in a haze; those that are not standing up and, as the song goes, Gallagher is waiting down by the river and wants the water to fall. The imagery he projects is pretty epic and you get this nice mix of grand scenes and intimate details. There is plenty of tension and tautness in The River. Gallagher’s voice is both pressing and collected. He balances this angry-yet-considered approach where he knows things need to change but he is not going to lose his head. Against a lot of modern artists who are projecting intensity and outright anger, Gallagher has that same anger but he is not as overt and in-your-face as many. I think that is good because we have this contrast and, if Gallagher were to shout and scream his words, the song might lose some of its meaning.

I love the composition on The River and the fact that it has a life of its own – I did feel a lot of the compositions on As You Were were a bit samey and did not resonate. Here, I think things have changed and Gallagher is taking his music in new directions. We do not have the same guitar chops as Noel Gallagher on display but Liam Gallagher’s band is pretty tight and sound. As the second verse of The River comes into flow, the hero talks about the walls closing in and people’s eyes getting sore. Gallagher does not want people to believe celebrities and politicians: people whose motives are not straight and they will feed you all sorts of lies. Essentially, he is telling us to take action and believe the truth. It is hard to do that in a world filled with lies but we have reached a point where things have got bad. The people know there needs to be positive change and politicians are letting us down. Not only are The River’s lyrics relevant and memorable but there is room for the band to stand out. I love how you get as much imagery and impression from the composition as you do from Gallagher and the words. The River is a complete song that warrants a few spins. It is pretty catchy and strong when you first hear it but I do not think it loses anything if you give it a serious work-out! I also loved Shockwave and it seems that Gallagher is more interested in the wider world and the state of affairs rather than what is happening in his own life. I have complained that artists are still too fixated on their own hearts and do not spend enough time talking about the issues in the world. It is good to see Gallagher addressing this and I think The River is an effective and affecting song that will open eyes but can also be adapted by live crowds. The song has a definite sing-along quality and natural Gallagher spark that sets it apart from so many songs of the moment. Check it out if you can because, like me, you will definitely want to get hold of Why Me? Why Not when it comes out. Gallagher is in very fine and rude form.

Right now, Liam Gallagher is preparing for his turn on the Pyramid Stage (today) – in fact, he tweeted just over an hour ago. He has been playing some warm-up gigs to ready himself for a sweltering set and it will be wonderful seeing the masses come out and support Gallagher. Songs like The River will be in the set but I know there will be some Oasis classics in the mix – people would mutiny otherwise! Why Me? Why Not is Gallagher’s new Twitter sign-off (As You Were was the previous sign-off) and the legend is preparing to release his album in September. If you do not get to see him later at Glastonbury, you can watch it on the BBC and there will be highlights shown. Gallagher has had a bit of a love-hate relationship with Glastonbury and I feel he has not been 100% happy with all the performances he has given there. As a solo artist, he has all that pressure on his shoulders but I do not think that will hinder him at all. Gallagher is a supremely confident performer who has so many hits in his pocket. He connects with the crowd and can get people whipped up pretty easily! I am sure he will have a few choice things to say regarding politics and modern Britain. To be honest, we would be disappointed if Gallagher was to calm it and become a bit of a neutered house cat. The always-reliable Gallagher definitely has his cool and swagger - and that is never going to go away. It is going to be a busy year for him and, after Glastonbury ends, there is the business of getting his album out there. When it is released, I guess there will be more gigs until the end of the year. If his debut solo album indicated a sense of calm and acknowledgment - getting something off his chest before ordering people to carry on – this time around we have a Gallagher who is raising questions. Why Me? Why Not. What does that mean exactly? It is intriguing and I guess we will have to wait until September before all the puzzle pieces come together. Gallagher has famously signed off his tweets with ‘As You Were/As You Were x’ for a while now and, as he enters a new phase of his career, there are many of us who want him to remain…

PHOTO CREDIT: RANKIN 

AS he is!

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