FEATURE: Groovelines: Childish Gambino – This Is America

FEATURE:

 

 

Groovelines

Childish Gambino – This Is America

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I wanted to do another Groovelines…

as a huge song, This Is America, turned five back in May. It was recorded by Childish Gambino. The alias of Donald Glover, I also wanted to celebrate his upcoming fortieth birthday (on 25th September). One of his defining songs and this extraordinary moment, it is a song that was relevant back in 2018. It still holds a lot of weight and has this raw and unsettling power. Written alongside Ludwig Göransson and Jeffery Lamar Williams (Young Thug), its video, directed by Hiro Murai, created quite a storm. It is visceral and beautiful. One of the best and most striking videos in recent memory. A track that tackles racism and brutality against the Black community, it was released five years after the #BlackLivesMatter movement started; a couple of years since the murder of George Floyd. Maybe prescient in that sense, it shows that, sadly, the messages through the song – about police brutality and violence against the Black community – never goes away. I am going to come to some reaction and reception of this immensely moving song. Few songs of the past ten years have had multiple features written about them. Such as the sense of controversy and attention it acquired, it has been subjected to scrutiny, praise and critique. I want to bring a bit from several articles, just to give you a sense of how people reacted to This Is America in 2018. In many ways, not a lot has changed regarding laws and the prejudice and violence against the Black community in the U.S. Rolling Stone wrote about This Is America in the context of it being timely and a big political statement. This nightmare and lesson that we cannot afford to look away from or forget:

“Like several other notable works of black American art in recent years, “This Is America” is about absorption. Onscreen and in real life, the black body gets exposed to so much terror and injustice and keeps going. How does the black body endure, and in what ways or spaces is it allowed to live out its emotions? Beyoncé’s Lemonade used the body as a diary of past pains and potentially redemptive experiences. Get Out showed us the price of a body that is literally inhabited by the constant white gaze. Lena Waithe’s The Chi on Showtime has reminded us of how often black people – particularly children – are asked to absorb the dangers of America and still required to be happy. Black Panther is about a hero who has the ability to absorb the violent energy thrown at him and reflect it back.

PHOTO CREDIT: Hiro Murai

But this is America, and while there are no superheroes here, Glover’s video calls back to the long history of black folks coming up with ways to barter our physical existence for a slice of the pie. It’s meant trafficking in our pain to get paid even a little, a dynamic steeped into our conjoined history with America. Throughout the video, he acts out a familiar tightrope walk for many hip-hop artists who have found success through revisiting painful experiences. “Get your money, black man” is sage advice that has been passed on through generations. Glover keeps dancing as he talks about the relationship between materialism, blackness, consumption and exploitation.

“This Is America” reflects the desire to use every one of our available platforms to punch at America’s conscience. So we keep recycling our trauma into art, which mainstream America then consumes and judges on the same scale as black entertainers’ less burdened white peers. That tension has been at the heart of countless pop-culture flashpoints: Kendrick Lamar losing the 2014 Best Rap Album Grammy to Macklemore; Lemonade losing 2017’s Album of the Year Grammy to Adele’s 25; the dramatic Oscars finish between Moonlight and La La Land in 2017. It bears repeating that blackness rarely gets the liberty of being free from its circumstances, while the rest of America gets to sit back and be entertained by us. Glover forces us to look at exactly who we are as a result.

With Get Out’s Sunken Place, Jordan Peele gave a name to the desperate, gasping, hellish depths that surround Black America – a place that so many of us are trying to escape while others seem to dive and wallow in it. There’s an echo of this image in “This Is America,” which closes with Glover running frantically in the dark with indistinct people in close pursuit. After a breathtaking four minutes of violence, somehow this moment is the most terrifying of all. Why are they trying to capture him: for causing so much destruction, or for revealing the truth about our country? As the mob closes in on him, the thought occurs that his captors plan to return Glover to his scripted role in a culture where the black entertainer isn’t a mirror, but a toy. This is America. Shut up and dance”.

PHOTO CREDIT: Hiro Murai

Let us take a brief pause to look at some of the reaction to the song and the accolades it received. Wikipedia collated some of the takeaways from reviews of this immense song. It is one that, when I first heard it, shook me to my core! It is such a stingily direct and vital song. This Is America remains this warning and caution. I don’t think we can ever afford to overlook what it is trying to say:

“The music video received widespread critical acclaim. Spencer Kornhaber of The Atlantic described the initial reaction on Twitter as "a gushing river of well-deserved praise" and the video as "the most talked-about music video of recent memory." Daniel Kreps of Rolling Stone commented that the video "is a surreal, visceral statement about gun violence in America". Pitchfork awarded the song the distinction of "Best New Track". Billboard critics ranked it 10th among the "greatest music videos of the 21st century." Mahita Gajanan of Time quoted music history professor Guthrie Ramsey at the University of Pennsylvania:

He's talking about the contradictions of trying to get money, the idea of being a black man in America. It comes out of two different sound worlds. Part of the brilliance of the presentation is that you go from this happy major mode of choral singing that we associate with South African choral singing, and then after the first gunshot it moves right into the trap sound.

Will Gompertz, arts editor of the BBC, asserted that "This Is America" was a "powerful and poignant allegorical portrait of 21st Century America, which warrants a place among the canonical depictions of the USA from Grant Wood's American Gothic to Edward Hopper's Nighthawks, from Emanuel Leutze's Washington Crossing the Delaware to America the Beautiful by Norman Lewis".

In December 2018, Billboard ranked "This Is America" as the 6th best song of the year.

The music video won the International Film Festival of the Art of Cinematography Camerimage Award for Best Cinematography in a Music Video, as well as the Grammy Award for Best Music Video at the 61st Grammy Awards”.

Because the video is so powerful, a lot of the reaction and analyses was of that - rather than solely the lyrics. Of course, the lyrics are key. Yet it is that visual representation that brings the song vividly to life. There are features like this that analyse the key scenes and what they mean. The visceral nature of the video did divide people. Some wondered what its messages were and what it was trying to sell us. That is what Vanity Fair asked in May 2018:

“Glover’s obviously got the upper hand on insight, however. His incongruously cheerful performance is the sharpest thing here, a compendium of arch, knowing references to everything from Jim Crow to Internet dance trends that kept Rap Genius users busy for the entire weekend. Maybe the slickest reference of all is to the Pied Piper: Glover dances a group of pre-teens in magnet-school uniforms clear of the surrounding violence like a siren-song distraction from the homework of everyday terror—which, in a way, is what he is.

I don’t know that this video (which was directed by Hiro Murai, who has also helmed much of Glover’s FX show Atlanta) changes that, really. But Glover executes it fascinatingly enough that it immediately sparked a flurry of responses online: some raves, others to the tune of “I wish he hadn’t.” A prominent complaint harped on the insistent use of images depicting violence against black people. In a world oversaturated with real images of real black death, maybe the bar is higher for deploying those images in fiction. Isn’t the shooting of that church choir, for example, a nod to the Charleston massacre? It’s a painful sight. Is it worth it?

PHOTO CREDIT: Hiro Murai

To be honest, my immediate response to the video was to wonder since when has Donald Glover been a furry beefcake who could dance—how’d we all miss that? I appreciate the more serious readings, like the angle that the violence and entertainment here are side-by-side spectacles, ordinary and co-extent, just as they are in everyday life; a quick scroll through Twitter, past mass shootings and Marvel movie trailers, confirms as much. I take that to be an incomplete read on Glover’s point, however. His constant foregrounding of his own googly-eyed gyrations distracts from the surrounding violence, but it also, I later realized, distracts from the fact that we barely even see that violence. We don’t home in on the chaos, really, save for when Glover picks up the gun himself.

That should feel self-effacing. Instead, in Glover’s hands, it feels a little insincere. I’ve often struggled to make sense of where Glover really stands on things—of whether the political statements in his art are expressions of genuine fury or Glover just playing around with political rage like it’s a costume he can slip on and off when convenient; I must have missed the point at which Glover transitioned from apolitical black nerd to bona fide political artist. A recent profile in The New Yorker didn’t exactly clarify the timeline, but it did give us a lot to chew on, to that end. Glover is quoted likening himself to Jesus (he may have been stoned) and claiming to pick up new styles and skills (like making a TV show) strategically. Jordan Peele is quoted claiming that Glover’s show Atlanta provides “the catharsis of, ‘Finally, some elevated black shit.’”

PHOTO CREDIT: Hiro Murai

“Elevated black shit”—I still don’t know what that is or why it’s categorically admirable. But the phrase came to mind while watching “This Is America” for the first time. The video somehow feels too convenient, too neat a gloss on whatever ideas it thinks it has. Its ambition, I sense, is to seem provocative enough that whether or not Glover actually means what he says here is ultimately secondary to the fact that he sells it well.

And that he does: it’s a bravura performance. But what’s he selling? I’m wary of any claim that “We” are distracted from black violence, because who’s “we,” really? Every other day of the week, America’s complaint is that the blacks doth protest too much. If not for the fact that it’s profitable to tell blacks that we should stick to sports, quit the protests, worry more about black-on-black violence, and be thankful for Obama’s eight years, people like Tomi Lahren wouldn’t be able to pay their rent. Is this not a sign that black anger and awareness are widespread and persistent, that blacks are not distracted—that we are, in fact, too keyed-in for America’s comfort? “This Is America” is predicated on a misdiagnosis. America, writ large, has not been unconsciously deterred from paying attention to the spectacle of racial injustice. It knows it’s there: it just doesn’t care to do anything about it.

It’s equal parts intriguing and tedious that Glover should feel the need to diagnose us, however. “This Is America” openly appeals to an America that loves to be told about itself, which is a strategy in itself—I am overjoyed, truly, for every white person on Twitter who “gets it.” They ought to: the video is tilted toward a liberal pop-culture intelligentsia so in love with getting spanked by black truth-tellers that even an artist such as Glover—who as recently as that New Yorker profile reminded us that he prefers to be excluded from the expectations of “woke” art—is answering the call to put us all in our place”.

One more feature before I wrap things up. Creative Review reacted to the massive impact the song’s video had. This Is America stormed YouTube and it really got people talking. I can’t remember how people reacted to the song before the video came out. It is clear that the video articulated something that was very moving and unforgettable:

“Racking up almost 50 million views in under five days, Childish Gambino’s This Is America has struck a chord with audiences all over the world. Here, Rob Turner examines the many political and cultural layers that lie within the hit video.

“You will not be able to plug in, turn on and cop out,” Gil Scott-Heron warned America, back in 1970. “You will not be able to skip out for beer during commercials, because the revolution will not be televised.”

Maybe not, but it’s currently storming the internet. In just five days, Childish Gambino’s latest video – This Is America – has racked up almost 50 million views. And that’s not counting all the memes and GIFs, the viral shots of the Georgia rapper throwing crazy shapes on a warehouse dancefloor, smoking a blunt on a car roof, and emptying an automatic rifle into a gospel choir.

But is this America? Where are the MAGA caps, pitchforks, and burning torches? The director of this new nightmare, Hiro Murai, keeps the white supremacists, and the bloodthirsty police force, at the periphery, out of focus and rushing past the camera eye. Most strikingly of all, Gambino himself becomes a stand-in for one of the angriest young men to emerge from the cauldron of 21st-century racism: raising his weapon, he turns into Dylann Roof, who murdered nine churchgoers at the Emanuel African Methodist Episcopal Church in 2015.

Why turn the lens away from the perpetrators of violence? Again and again, from the Rodney King beating to the Eric Garner murder, cameras have been central in exposing (if not prosecuting) hate in America. Here, though, the fascists are off the hook, and we find a row of apathetic kids, lounging on a balcony and following the revolution on their phones, as the warped voice of Young Thug drifts into the mix, flaunting his web presence: “America, I just checked my following list, / And you mothafuckas owe me…”

A few bars earlier, Gambino anticipates Thug’s studied narcissism. “This is a celly,” he raps, “that’s a tool, my Kodak.” Even if you miss the shout-out to yet another Southern MC (Kodak Black), this is a tight cluster of images. We are reminded that a camera-phone can be used for something other than Instagram: it can become a tool for exposing murder. But there’s another thread lurking here. The camera can also be (wilfully) mistaken for a tool – a handgun – as it was earlier this year, when Sacramento police fatally shot Stephon Clark, a young black man who was ‘armed’ with what turned out to be an iPhone.

These flickering parallel lives, as the device used to unveil police violence turns into the excuse for a curbside execution, capture the sick juxtapositions of being black in Trump’s America. Throughout the video, Sherrie Silver’s choreography thumbs through the book of African and African American dance history, placing Blocboy’s trap moves alongside the distinctive popping of South African gwara gwara. Gambino’s shirtless body becomes a dense intertextual sign, throwing allusions in all directions as he glides through a blank warehouse space. It’s a sexy and infectious sight, and you can see the GIFs sprouting every second.

Elsewhere, though, Silver leads Gambino into more frightening territory, lifting the jolting wobble and the boggling eyes of the minstrel cakewalk. Already, the film has been dissected by an army of YouTube analysts, with freezeframes of Gambino set alongside grotesque cartoons from the Jim Crow South, blurring the rapper with a caricature from the Wilson era. The black performer is destablised, yet again, by all these commentaries, as he is read (and re-read) in relation to both authentic self-expression and white pastiche.

Oddly enough, this is an increasingly common gesture in contemporary hip hop, with the phantoms of minstrelsy and racial passing looming in a number of videos in the last 12 months, from Jay-Z’s appropriation of Sambo cartoons in The Story of OJ (dir. Mark Romanek), to Tyler the Creator’s grisly surgical adoption of white-face in Who Dat Boy (dir. Wolf Haley). Jordan Peele’s Get Out was the multiplex apotheosis of this trend, offering the most horrific commentary on American racism since the closing shot of Night of the Living Dead.

As a short film, This Is America is sharp as hell, and it holds its own alongside a spate of violent fantasies imagining life after Obama. As an MC, though, Gambino still seems a little unsure of himself. A taste for irony has shaped his work ever since the early mixtapes, back in the late 2000s. Even the alias turned out to be a joke: it was what popped out when he typed his real name into an online Wu-Tang Name Generator. This new cut feels closer to a warped commentary on Atlanta trap than a sincere engagement with it, reducing guests like Quavo and 21 Savage to parodic ad-libs (“skrrt skrrt!”).

For some, this is the sound of trap music growing up, as Gambino shows the stars how to get woke. For others, it’s an inauthentic carbon copy of the real sounds of Atlanta, borrowing the triplet flows and distinctive beats of the sub-genre and gobbling up their bandwidth with an indelible video. Perhaps it’s both: an unresolved tension between sincerity and salesmanship hovers over the track. As Young Thug puts it, in the mysterious refrain that closes the film: “You just a black man in this world / You just a barcode…”.

Donald Glover is forty on 25th September. I wanted to use this opportunity to highlight his Childish Gambino moniker. This Is America was top ten in the U.K. and went to number one in the U.S. You hear it played now and then. I feel it will always be teaching people. Lest we ever forget the song’s lines and those indelible images in the video! I don’t think there have been too many protest songs. Concerning violence in ghettos and brutality against the Black community, it also concerns never-ending gun violence and the carnage it brings. Even though there is a black mark against the song in that This Is America, with many pointing out the similarities to American Pharaoh by Jase Harley, it takes nothing away from Childish Gambino’s gem. It opened eyes and provoked conversation. In such a stressed ands fractured time, we need a lot more songs…

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FEATURE: Spotlight: Gemma Rogers

FEATURE:

 

 

Spotlight

Gemma Rogers

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WE definitely need to hear more…

from Gemma Rogers. An artist who, in interviews, seems to articulate about the Government what many of us feel right now, she is someone whose music has this real power and resonance. I am going to get to a great 2022 she did with CLASH. There are not that many new interviews with her. I hope that more websites and music magazines get behind Gemma Rogers and support what she does. A London-based artist that everyone needs to get involved with, New World Order is her latest track. It is fabulous and compelling! I want to bring in a review for it. First, Right Chord Music asked what the sound of a revolution would be. At a time when more artists should be discussing something deeper, many still focus on the personal:

“What is the soundtrack of the revolution? Is it stirring patriotic songs, people waving flags a la Les Mis? Is it crashing guitars and sneering resistance to the establishment, as we see in punk? Or is it dreamy indie-pop with a ska edge? That’s the interpretation Gemma Rogers has gone for, anyway, and it’s no less valid for it.

Gemma Rogers is a London-based indie pop artist – eagle-eyed readers may remember her critically acclaimed LP ‘No Place Like Home’ and the EP ‘The Great Escape’. She’s going from strength to strength, with radio plays and festival slots aplenty, and now this latest release.

‘New World Order’ is a deceptively light-hearted ode to dystopia and revolution with wry lyrics and a ska influence.

Rogers’ lyrics combine the mundane with the apocalyptic, opening the song with ‘New day’s dawning, Grandpa’s snoring, last night’s embers on tv’. They range between apathy – ‘turn the pages, nothing changes’ – despair – ‘doctor doctor help me please’ – and some sort of nihilistic hope as the chorus welcomes us ‘to the new world order’. But delivered in casually sweet vocals and playful melodies, it retains a dreamy, breezy spirit and doesn’t get heavy.

The instrumentation centres around a skanking guitar, lending the ska influence, and laid-back beats. A moody bass keeps things chugging, alongside synths that swoop and chime and give the track personality. Fans of Lily Allen-style Brit pop will enjoy this, along with any fans of revolutionary lyrics or ska. There’s even a pleasingly nightmarish music video, that flickers through warping images of everything from bread to butterflies. The new world order is definitely memorable”.

I am relatively new to the music of Gemma Rogers. She is someone I am compelled to know more about. Whether she considers herself to be ‘upcoming’ or ‘rising’, or whether she is an established artist, it is clear her fanbase will grow. She had a hectic 2022. This year has been a busy one too. Joy Zine reflect on this in their review of New World Order:

“It’s fair to say that, of late, London-based singer, Gemma Rogers is having a busy time. After a phenomenally hectic 2022 (including the release of her EP, ‘There’s No Place Like Home’ – joyfully covered by Joyzine back in January), 2023 sees Gemma currently touring the UK (including a set at Glastonbury and opening for Paolo Ntini), alongside releasing a new single on July 17th called ‘New World Order’ (available to listen on YouTube from July 21st). According to the official press release, the song covers ‘three and a half minutes of social observation as a sunshine ska tip of the hat to all of London’s political music legends’. Sounds intriguing! We asked Gemma to elaborate further.

Gemma: ‘I wrote it while living as a guardian in a massive, old, dilapidated launderette. Twelve of us lived there and we spent lockdown together. Everyone had a Covid hangover’.

Joyzine: ‘How did some of the lyrics come together?

Gemma: ‘The lyrics came before the music. “Grandpa snoring”  means being stuck at home with nothing to do. The “New World Order” refers to a tangible shift in the rules imposed on us by the powers that be. “Voiceless people screaming out”. Bizarrely in a world of unlimited communication, politics feels ever less influenced by the people it’s obligated to serve. “I think about the lies. Who’s telling them?”. There’s a lot of paranoia in the song as there was in the world during lockdown. Do you really know everyone you know, sort of thing. I revisited the lyrics and updated a few of them in view of current legislations “Protests shutdown.”’.

So, onward to the review. We begin with a soft ska rhythm, accompanied by a cool, dreamy synth intro. It’s not long before Gemma’s trademark vocals kick in and her lyrics flow effortlessly with the music. In some ways, this reminds me of listening to Madness, The Specials, Ian Dury, et al, back in the day, when they engaged in delivering inspiring social commentaries upon the world, as they saw it happening around them. Gemma provides exactly that same edge with her words in a contemporary setting. This is music to make you think. Music that asks you to open your eyes and become aware of life going on around you, both locally and globally. Welcome food for the voracious mind and soul.

In terms of musicality, everything is tight and very structured. Production levels are spot on and Gemma’s fabulous vocals are easily heard/understood, helping to express her inner thoughts and feelings with cognitive punchiness.

As Gemma so eloquently puts it, ‘…the difficulties many (not all) of us face with the rising cost of living. As with all the songs, ‘New World Order’ is about trying to make sense of the shape-shifting world we live in’”.

The Great Escape EP came out earlier in the year. Since coming through last year with the first tastes of her incredible music, a lot of ears and eyes have been turning her way. Ear Milk shared their thoughts regarding the magnificent E.P. from earlier in the year. A pretty great way of starting 2023, Rogers has not taken her foot off of the gas:

“Following up on her 2022 debut LP No Place Like Home, Gemma Rogers brings the same sweet and visually telling songwriting on The Great Escape. With only two new songs, accompanied by two remixes of last year's “Tailspin”, Rogers brings forth a short, yet deeply riveting listening experience that not only acts as a conceptual sequel to No Place Like Home but is a warm welcome to new listeners such as myself.

Straight from the jump, Rogers’s creative writing and fluidity with imagery are on full display with the title track. A little bit of surf rock, a little bit of an early alternative groove riddled in the chorus, “The Great Escape” is a whimsical and fun tune that paints the mental image of escaping to the sea while not succumbing to a corny sentiment.

“Ship of Fools” is the moment where the EP really shines. It's where Rogers's musicality meets her talent for writing metaphors. This is the moment where she perfectly encapsulates the spirit of searching for fulfillment; the need for something better, and the sense of positivity.

There's a bountiful energy present throughout the E.P. and despite its four-track run, Rogers demonstrates an open mind to intermix surf rock grooves with themes of escapism, utilizing the ocean and a ship as a clear concept. While No Place Like Home sees Rogers focus on finding the comfort of home in familiar territory, The Great Escape uses the same colorful rifts and chorus to search for something greater”.

Let’s take things back a minute. To 2022. In her biggest spotlight to that point, CLASH spoke with Gemma Rogers about her L.P., No Place Like Home. She discussed motherhood, and why the Tories were screwing over the country. As I say: this is someone who we all need to get behind. Somebody who is speaking for the masses:

“It’s a shitshow. A mockery. A conveyor belt of jokers,” spits Gemma Rogers. The former spoken-word artist has had a busy year giving birth to a daughter and dropping one of the most intriguing punk-pop albums of the century so far. And in the finest punk tradition, she’s also hopping mad about the UK’s dire political situation.

“We don’t need austerity, we need to tax the rich,” Gemma says, warming to her theme. “The only good news, politically, is that there’s no more room for apathy. The Tories have royally fucked us – think about child poverty, fuel prices, the rising cost of living. Normally I can’t be bothered to talk about politics – the songs do that for themselves – but right now you can’t not talk about it. It’s a worrying time.”

Never fear though, Gemma Rogers’ new LP – ’No Place Like Home’ – isn’t all bleak rants about Westminster shenanigans. You’ve likely heard dancey single ‘My Idea Of Fun’, her cheeky ska-inflected paean to rum drinking in the afternoon.

“That was written before a lot of the rest of the tracks,” she tells us. “Before my little girl came along, when day drinking was still a thing. A lot has happened since then! Sometimes I mourn the grot-bag pubs. Meeting randoms, spending my wages on cheap spirits, and kissing the wrong people.”

Championed by 6Music’s Steve Lamacq – who asked Gemma to sit in for him on his New Music Fix show recently – she adores fellow current artists Yard Act and Deadletter. “I’m also super impressed with AGAAMA. I watched her perform with the Birmingham Symphony Orchestra the other day on BBC4. Amazing! I asked her to open up my show at Dead Wax in Birmingham and she said yes! I’m well chuffed.”

Gemma rails against the dumbing-down of social media with great style and verve on brilliant album opener ’Stop’. But she isn’t averse to using technology to help with her creative process.

“I write my lyrics, themes, and ideas into Googledocs,” she reveals. “I’ve found it’s the easiest way of sharing ideas.”

Most tracks were recorded at the studio of collaborator Sean Genockey. “Each track required a different style and approach. I think you can hear that.”

“Creativity is a lawless place.”

The tour is going well, despite a bumpy start. “We had to miss Rough Trade in Nottingham because of a bad car crash en route. Then I lost my voice about an hour before I was due on stage at Bedford Esquires. The crowd were amazing though. I think we just about snatched victory from the jaws of defeat. Turns out my Barry White-does-punk impersonation was down to a chest infection”.

Gemma Rogers is a really interesting artist who has been championed by the likes of BBC Radio 6 Music. Keep your eyes peeled to see what comes next. There are a few tour dates coming before the end of the year. I know she will have a busy diary next year. Someone who is gaining big traction and is releasing terrific music, I think that she is an artist that…

EVERYONE will get something from.

_____________

Follow Gemma Rogers

Official:

https://www.gemmarogersmusic.com/

Instagram:

https://www.instagram.com/gemma_rogers_music_

Twitter:

https://twitter.com/whichgemrogers

Spotify:

https://open.spotify.com/artist/6goPkIzuF1ytQUOjm80uDn

YouTube:

https://www.youtube.com/@gemmarogersmusic

Facebook:

https://www.facebook.com/gemmarogersmusic

FEATURE: Red Flag, White Flag: Whilst Women Are Speaking About Their Experiences of Sexual Assault, Is the Music Industry Doing Enough?

FEATURE:

 

 

Red Flag, White Flag

PHOTO CREDIT: Freepik

Whilst Women Are Speaking About Their Experiences of Sexual Assault, Is the Music Industry Doing Enough?

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IT may be an impossible…

 PHOTO CREDIT: wayhomestudio/Freepik

feat to achieve, but I wonder whether the music industry will ever be an one where women feel protected, safe and free. I have written about this before. It is not an exaggeration to say that every week there is a case of a man in the music industry being accused of sexual assault or harassment. I realise this is not exclusive to the music industry. If Hollywood had a #MeToo movement that helped unify the industry and saw many predators and culpable men in Hollywood brought to justice, there is still a way to go. It spread to other areas of society. The landscape is changing in that respect. I don’t think anything like that reached the music industry. Whether historic allegations or current, it is pointless people trying to ignore or underplay something horrible running through music. It is bad enough that many women feel unsafe at gigs and festivals. Fearful of being assaulted or abused. As we are still a long way from all festivals and venues being these spaces where women can feel very safe, we also have to read stories of male artists and those in the industry highlighted for all the wrong reasons. I know, as many men might argue, it is not all men. I know full well that not every single man in the music industry is suspect and abuser1 I also know that deflecting with such trite and stupid remarks almost defends the men who are culpable.

PHOTO CREDIT: mikky k/Pexels

Why try and rationalise something like this?! Stories like this and this are not rare. Sadly, as Rolling Stone highlighted last week (as many other sources have covered), Anti-Flag’s Justin Sane has been accused of multiple counts of rape and sexual assault:

“IF THERE WAS one punk group that positioned itself as a leader of a movement for inclusivity, radical change, and allyship in the early 2000s, it was Anti-Flag.

Co-founded by Justin Geever, a.k.a. Justin Sane, in Pittsburgh in 1993, members flitted in and out until the group solidified in 1999. Anti-Flag would go on to draw legions of devoted fans for their progressive messaging and political activism, including anti-war causes and animal-rights advocacy.

Geever served as the face, voice, and outward idealism of the group for decades. The band was proud to declare itself a safe space for people of all walks of life, especially women, and became vocal supporters of survivors of violent crime after the murder of a band member’s sister. That idealism would also become a central tenet to some of Geever’s lyrics. “This is what a feminist looks like!” he sings on 2005’s “Feminism Is for Everybody,” followed immediately by “This is what a feminist sounds like!”

Knowing what the band meant to so many, Kristina Sarhadi was sickened by the burden that she could shatter fans’ entire faith in the group. The New York holistic therapist and health coach had been a die-hard fan until a fall 2010 night with Geever. “It’s been this internal battle for me for over a decade,” Sarhadi tells Rolling Stone. “I truly believed his persona, and what [the band] were always consistently, persistently singing and talking about. I didn’t want to be the one to take that away from anyone else.”

PHOTO CREDIT: Chelsea Lauren/WireImage (digitially alteredf by Rolling Stone)

But in mid-July, Sarhadi appeared on a podcast to accuse the 50-year-old of violent sexual assault. Although Sarhadi did not name Geever directly, all details pointed to him. (Sarhadi confirmed to Rolling Stone that Geever was the subject of the allegation.) Hours later, Anti-Flag wiped its social media presence — including band members’ personal pages — and released a short statement. “Announcement,” read the post. “Anti-Flag has disbanded.”

Despite upcoming shows in Europe, the group broke up immediately. Instead of acknowledging the accusation, though, the band offered no denial or further explanation. The assault claim contradicted everything Anti-Flag and Geever claimed to stand for. Now, when faced with their own reckoning, there was only silence.

A week later, Geever categorically denied the allegation. “I have never engaged in a sexual relationship that was not consensual, nor have I ever been approached by a woman after a sexual encounter and been told I had in any way acted without her consent or violated her in any way,” he wrote.

IN THIS PHOTO: Kristina Sarhadi in 2023/PHOTO CREDIT: Kristina Sarhadi

The other members — Patrick Bollinger, a.k.a. Pat Thetic, Chris Head, and Chris Barker, a.k.a. Chris No. 2 — released a statement alongside Geever, saying they were “shaken” and “heartbroken” by the accusation, adding it has always been their “core tenet” to believe survivors. “Therefore, we felt the only immediate option was to disband,” they wrote. “While we believe this is extremely serious, in the last 30 years we have never seen Justin be violent or aggressive toward women.”

Sarhadi’s claim, however, is echoed by an additional 12 women who spoke to Rolling Stone about their alleged encounters with Geever, going back to the 1990s and as recently as 2020. These allegations include predatory behavior, sexual assault, and statutory rape, including sexual relations with a 12-year-old when Geever was a teenager. (Geever did not reply to multiple requests for comment after Rolling Stone sent him a detailed list of allegations for this article.)

“He was a wolf in sheep’s clothing,” says Jenn, who met Geever as a 16-year-old in 1997. (Rolling Stone is identifying Jenn by her first name.) “He came across as super supportive. He was like, ‘Yeah, we need more girls in punk rock,’ and ‘Get out there!’ He played the part of lifting women up, but at the same time, he was holding them down, literally”.

 “Sarhadi’s claim, however, is echoed by an additional 12 women who spoke to Rolling Stone about their alleged encounters with Geever, going back to the 1990s and as recently as 2020”

The more stories like this that come to light, the more angering it becomes. The more sympathy you feel for women and whether we will ever reach a point where action is taken. In individual cases like this, legal action can be taken. When you look through the years and the number of sexual assault and harassment cases reported, they may be discussed and counted. Beyond that, what happens?!  Whether relating to the music industry alone or wider afield, there are shocking and sobering statistics that show that the surge in sexual assault cases is being met with anger and disgust. How much are governments doing to raise awareness and ensure we do not have to see this sort of thing year in year out?! It may seem too big an issue to quickly resolve. Although we are seeing stories of men in music accused or sexual violence and abuse, the outcome varies. Maybe it will result in conviction though, too often, it is merely they are dropped by their label but can walk free. I don’t think there has been any music-targeted campaign or movement where charities, artists, those in the industry and far beyond get involved and put in place something solid, progressive and proactive. At the moment, so many women are fighting to have their voices heard. Great organisations – as I have said in previous features – are out there aiming to keep women safe and informing gig-goers about keeping safe and intervening if they see a case of sexual harassment or assault.

 PHOTO CREDIT: Dids/Pexels

This is all very valuable, yet we are still seeing too many stories that show that there is work to be done! Sadly, we have reached a point where extreme stories and artists being called out is not surprising. With every story that breaks revealing sexual assault and abuse in the industry, it needs to be met with action and promises from the industry at large. The big question would be what needs to be done? What can be done? Of course, the problem around making sure all women feel safe is a massive undertaking. It will not be something that can be achieved right away. There does need to be that collective recognition of a huge and unflinching issue that is affecting many women. It has reached a point where we are hearing and seeing too many reports of men in music accused or sexual assault. The music industry is obviously concerned and wants to ensure that women are safe and we do not have to process another disturbing story regarding a musician or music industry figure. By there not being a definitive movement, campaign or pledge wider afield to take such an ongoing and devastating issue, it seems like waving a white flag. Letting women or charities try to tackle it alone. Alongside a zero tolerance approach from labels and venues regarding dropping those accused – rather than cancelling; that is a different thing and something a bit more complex – and taking swift action, there needs to be something more concrete and all-encompassing. We cannot keep seeing news of sexual assault and harassment taking place in the music industry…

 PHOTO CREDIT: wayhomestudio/Pexels

WITHOUT huge action being taken.

FEATURE: Where They’re Meant To Be: Following Ezra Collective’s Mercury Prize Victory, Why a New Spotlight Needs to Be Shone on British Jazz

FEATURE:

 

 

Where They’re Meant To Be

IN THIS PHOTO: Ezra Collective

Following Ezra Collective’s Mercury Prize Victory, Why a New Spotlight Needs to Be Shone on British Jazz

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THERE was nothing to criticise…

 IN THIS PHOTO: Ezra Collective collect their Mercury Prize at the Eventim Apollo on 7th September, 2023, joyfully overseen by host Lauren Laverne/PHOTO CREDIT: JM Enternational/Getty Images

the Mercury Prize about this year. That seems harsh but, in past years, there have been accusations that the ceremony is too focused on London artists. I think that is still true - and something that needs to be addressed -, but there has been a certain air of predictability in the past. The artists you feel were going to win have. That is not a bad thing, though the element of awarding the ‘underdog’ or artist more deserving of that exposure. Every year, there seems to be this limiting of Jazz and Folk. You may get one artist/album from each genre but, by and large, other genres are in the spotlight - artists seen as more ‘accessible’ or mainstream. This year, when Ezra Collective’s second studio album, Where I’m Meant to Be, was listed among the dozen shortlisted albums this year, many thought they would not win. Bookies gave long odds. There is always cries that it is tokenism having one Jazz or Folk artist. An also-ran that shows that, whilst the Mercury Prize is diverse in who it nominates, it offers very few surprises in terms of Jazz and Folk. When Ezra Collective (perhaps unexpectedly) won yesterday night, they started by thanking God. I am an atheist and know that it is their raw talent that led to the win, though there is something almost divine and preordained working to create that moment last night. The whole audience at the Eventim Apollo were rapturous. The group were on their knees in shock and joy! A band who will lead more eyes the way of British Jazz and its huge importance. The first time in a long time that the Mercury Prize has gone to an unexpected winner, yet one that thoroughly deserved to win. I am not sure whether this will lead to a bit of an evolution and revolution when it comes to them and the public taking Jazz more seriously. Definitely, future years will see the awards push away from the more mainstream and predictable artists and more to the vital outskirts. I still think that the London-centric thing is a big problem that means artists anywhere north of London seem to struggle and come away empty-handed – when was the last time we saw an artist not born or based in London win…?!

 PHOTO CREDIT: chevanon via Freepik

I hope that there are a lot of features written about British Jazz right now. How it is among the most vibrant, eclectic and important music being made. Many people still have this image of Jazz: quite stuffy, stiff and boring, that is not the case at the moment! Jazz is vibrant, all-embracing and inclusive. Whether it is Ezra Collective and the importance and wonder of their instrumentation, or a Jazz vocalist who can articulate and resonate like nobody else, we need to get out of that mindset that Jazz is periphery, inessential or, when it comes to award shows, there to make up the numbers! Ezra Collective proved that things are going to change! The Guardian reacted to Ezra Collective winning the Mercury Prize (the first Jazz act to do so) – and a long-overdue acknowledgement of the golden age of British Jazz:

“A slight sense of disbelief attended the announcement that Ezra Collective’s Where I’m Meant to Be had been awarded the 2023 Mercury prize. You could hear it in the audience’s reaction – the cheer was underpinned by a sort of delighted gasp – and you could certainly see it in the band’s: they literally collapsed in a heap on the floor by their table. Their acceptance speech began with a thank you to God: “If a jazz band winning the Mercury prize doesn’t make you believe in God, nothing will.”

You could see why. The joke about the Mercury prize’s tokenism when it comes to jazz and folk music has been running for almost as long as the prize itself. Virtually every year, a solitary artist from those fields gets nominated and invariably goes away empty-handed. It’s been mocked as a patronising pat on the head, but you seldom hear the artists themselves grumbling: mainstream exposure for jazz and folk is scanty at best and sales figures are seldom huge, making the publicity surrounding the prize and any resulting bump in sales more important than you suspect it is for, say, Arctic Monkeys.

This year, however, felt slightly different. As evidenced by the performances at the ceremony itself, it was a strong field, but there was a sense that Dublin quartet Lankum might actually be in with a chance – their intense, experimental approach to traditional Irish music is suffused with influences from deep in the musical left-field and has attracted both blanket critical acclaim and an audience that one suspects don’t usually spend much time with trad arr tunes.

And the reception Ezra Collective’s reading of Victory Dance was afforded seemed noticeably different from the polite applause that usually greets the jazz nominee on the night: it got a spontaneous standing ovation. You could see why: it was joyous and funky and party-starting, as good an advertisement for seeing them live as can be imagined.

You can also see why Where I’m Meant To Be won. It stirs together Afro-Cuban rhythms and post-bop with rap – both Sampa the Great and 2022 Mercury nominee Kojey Radical are among the guests – dub, funk and dance music and transforms Sun Ra’s Love In Outer Space into slick jazz-inflected soul with a vocal by the singer Nao, another former Mercury nominee. It’s an album where the influence of spiritual jazz coexists with Afrobeat; it successfully captures the band’s live energy, its kinetic power never dipping despite its 70-minute running time. It’s approachable and celebratory without in any way seeming lightweight or drifting too far from the band’s roots: an album that people who don’t normally consider themselves jazz fans might fall for, but still resolutely a jazz album.

There are times when you wonder aloud at what the point of the Mercury prize is: when it feels like a meaningless addendum to mainstream success, when it appears to be simply telling people something they already knew. A jazz album winning may well prove an aberration, and things may go back to business as usual next year, but if their victory means that Where I’m Meant To Be finds a wider audience than it has thus far then the 2023 Mercury prize has done a good thing, and made itself seem worthwhile in the process”.

 IN THIS PHOTO: Glasgow-born Jazz sensation Georgia Cécile

Look wider afield for articles and spotlighting, there is precious little about the richness of British Jazz righty now. Aside from a new wave of talent coming through, established artists like Georgia Cécile, Nubya Garcia, The Comet Is Coming (who splice other genres with Jazz to create a distinct sound), and Jasmine Myra, there are so many brilliant young Jazz artists coming through in the U.K. I think, like other genes, it is hard to classify what is ‘Jazz’ and whether it is R&B, Soul or Pop. That is why it is bemusing that Jazz is still viewed by many to be old-fashioned, immobile and rather studied. Like you have to endure the music rather than enjoy it. Get lost inside it. Artists are keeping Jazz ethos and sensibilities at the heart of their music but, consider musicians like Emma-Jean Thackray, and how versatile they are. Rather than distilling Jazz, it is a more experimental and broad. There is still Jazz music that conforms people’s ideas. Even so, if you call it pure Jazz or something else, it is clear that the music being produced around the world in the genre is magnificent. Here, we have so many incredible artists to watch. Camille Munn is someone who combines Jazz with Neo-Soul and R&B. I like the fact that many artists are pairing Jazz with the soulfulness, smoothness and sensuality of R&B. On the other side of the spectrum, you have something more electric like Ezra Collective. Whereas genres celebrated and prioritised such as Pop is seen as homogenous and quite robotic/samey at the moment, there now needs to be new focus on Jazz coming out of Britain. The opposite of modern Pop: uplifting, spiritual, political, celebratory, people-uniting and real. Music that you can almost physically feel getting into your soul and coursing through your veins!

Celebratory and infectious, their incredible musicianship and connection is at the heart of everything Ezra Collective and their British contemporaries do. I think that their Mercury Prize win will inspire so many Jazz artists. Nubiyan Twist and Jazz drummer Moses Boyd are award-nominated, spectacular Jazz artists. Adding something cooler to the Jazz melting pot, Blue Lab Beats are well worth listening out for. Check out Yakul’s Jazz-infused sounds. Poppy Ajudha, whilst perhaps not primarily a Jazz artist, mixes Soul and R&B, her melodious are reminiscent of classic Jazz. Kamaal Williams is at the forefront of experimental British Jazz. I don’t think that you can be a purist when it comes to Jazz. Whether integrated with other genres to create a new sound, or nodding back to classic Jazz artists, there is this vibrancy and richness running through British Jazz. Even if a lot is focused in London, there are plenty of great British Jazz artists coming from outside the capital. I guess there is an allure and the fanbase in the capital that proves so attractive to musicians. It is not only clubs like Ronnie Scott’s that are staging these artists. Ezra Collective  are playing all kinds of venues. Even before they won the Mercury Prize last night, they had this incredible core of fans. Beloved and huge respected, this will take them to the next level! The collective have gigs in Australia very soon. This is pretty impressive! It is also further proof that Jazz in Britain translates beyond pure genre labels and cliches. It travels and impacts geographically. That demand from fans right across the world. We do need to get out of this insulting and incorrect assumption Jazz is boring, too quirky, magical or too weird or unengaging to integrate into the mainstream and deserve wider respect!

If you prefer instrumental Jazz other vocals, there are groups and artists who give you a lot of choice. From mixing African rhythms, drums, a swirl of brass and infectious jubilance through to more intense percussion and a nod to legends like Miles Davis, all the way along to something soothing and blue, there is something out there for you. Plenty of wonderful Jazz vocalists who are writing stunning original songs and adding their stamp onto standards. This colour chart and cocktail menu of British Jazz is expanding and evolving by the year. Offering Jazz fans and new converts so much to enjoy. Music that is far less disposable and uninspired than the mainstream’s best and most celebrated. If we once viewed a Jazz album’s inclusion on the Mercury shortlist as box-ticking – and that album is given poor odds – where they would never win, an historic and much-warranted win for Ezra Collective will spread way beyond the Mercury Prize. It will make people reassess Jazz and explore it more. Seeing this band of brothers and sisters. An affirmative and enormously skilled group of musicians take Jazz to new places is going to reverberate around the music world! It also means that there will be long-overdue light and discussion about British Jazz. About the artists we have in our midst who are keeping Jazz fresh, alive and moving, to the new crop on the fringes who are making interesting moves. Among the most soul-enriching, important and soul and heart-lifting music around, Jazz is no longer a punchline or byword for in-accessibility. British Jazz has been mesmeric for decades now - although I feel things are visibility changing now. More exposure beyond stations like Jazz FM (a superb station). With stations like BBC Radio 6 Music championing acts like Ezra Collective and Nubya Garcia, progress is being made. It is high time that we all celebrated and bowed our heads in thanks and praise to British Jazz’s…

KINGS and queens.

FEATURE: Kate Bush’s Hounds of Love at Thirty-Eight: Hello World: The Musical and Cultural Landscape in 1985

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Kate Bush’s Hounds of Love at Thirty-Eight

IN THIS PHOTO: Kate Bush promoting Hounds of Love at the London Planetarium on 9th September, 1985/PHOTO CREDIT: Dave Hogan/Getty Images

Hello World: The Musical and Cultural Landscape in 1985

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SHE is practically a household name….

 IN THIS PHOTO: Kate Bush in an outake from the Hounds of Love album cover shoot/PHOTO CREDIT: John Carder Bush

in America this year. That was not always the case. Even if Kate Bush’s fourth studio album, The Dreaming, got a foothold and some impact in the U.S. in 1982 to 1983, it was not a massive success. Hounds of Love changed things. As this is the final feature I am writing about Hounds of Love ahead of its thirty-eighth anniversary on 16th September, there are a few different elements I want to include. I will return to the subject of how Hounds of Love broke Kate Bush into America. I have written about this before I know - so I will not repeat that feature. Instead, as 1985 globally was a massive year for music and music events, that is something to frame around Hounds of Love. If some view 1986 as the worst year in music because of the prolificacy of drum machines and the fact a lot of records sounded the same, 1985 must go down as one of the best! Bush released Hounds of Love on 16th September. It was halfway through the ninth month of an extraordinary year. In terms of the biggest music event, 13th July was when Live Aid happened. A benefit concert held simultaneously at Wembley Stadium in London and JFK Stadium in Philadelphia; it raised $127 million for famine relief in Africa. A few weeks after that huge event, Bush released the first single from Hounds of Love, Running Up That Hill (A Deal with God). In British politics, under Margaret Thatcher, the country faced drives for privatisation, and the need for better bank regulation. Among the classic and celebrated films of 1985 was The Breakfast Club, Back to the Future, and Pee-wee's Big Adventure. Artists like Huey Lewis and the News, Dire Straits, and Whitney Houston were ruling the charts.

A lot was happening and changing in 1985. In terms of the major artists on the scene, legends and established icons like Prince and Michael Jackson were on top of the world. Few could compete with the rise of Madonna. She released her second album, Like a Virgin, in 1984. Kate Bush actually took it off the top of the U.K. chart in 1985. It was a time when Bush began to crack America and created a masterpiece at the same time as a Pop queen – who was no doubt influenced by Bush – was beginning to get some serious attention. Madonna was on her way to becoming thew most important artist on the planet. A magnificent year for music, near-career-best albums from Tears for Fears (Songs from the Big Chair), The Smiths (Meat Is Murder), Dire Straights (Brothers in Arms), Tom Waits (Rain Dogs), Prefab Sprout (Steve McQueen), and Eurythmics (Be Yourself Tonight) sat alongside Hounds of Love. Although there is debate as to which album from 1985 is the best, you can see where Hounds of Love lands in articles by NME, Udiscovermusic., Rolling Stone, and SLANT. Although there was a tonne of terrific music out there, and artists like Madonna were at the centre of popular culture, Hounds of Love seems to surpass everything! Maybe because the album was both of its time and unique. If the singles on the first side fitted within the aesthetic of the mid-’80s, The Ninth Wave – the album’s second side – was very much outside of that. That dichotomy and variation intrigued fans. Bush had definitely hit her stride, perhaps inspired by music and culture from the U.K., U.S., and around the world.

Prior to getting to how Hounds of Love gave Kate Bush a real footing in America, The Ringer wrote a fascinating feature in 2019. At a time when Netflix’s Stranger Things took us back to the mid-‘80s, they looked at the music of the time. There was one-named megastars, a thriving underground, and a new British invasion. Kate Bush’s Hounds of Love came into a world where music was solidifying legends and making new heroes:

“The Stalwarts

There were a lot of winners in 1985 but none bigger than Wham! and Madonna. Both placed two songs in the year’s top 10 and both ultimately ended up with four in the top 100. More importantly, their success was a recognition of generational voices establishing a permanent beachhead in our consciousness. The deep blue Wham! classic “Careless Whisper” was both the year’s highest-charting single and the first full-fledged evidence of George Michael’s gestating excellence.

Madonna’s top-10 doublet “Like a Virgin” and “Crazy for You” perfectly encapsulated the come-hither mastery of her early persona, while hinting at the deeply layered subversion that would ultimately characterize her most celebrated work.

After Purple Rain and his world-historic 1984, it was something of a quiet year for Prince, but even a quiet year in the midst of his prime yielded the unforgettable likes of “Raspberry Beret.” Here were three mega-talents (with apologies to Andrew Ridgeley) all under the age of 28, all primed to carry the industry forward as trendsetters and hit-makers for years to come.

The Upstarts

By 1985, a grassroots movement composed of independent artists and record labels throughout the country had resulted in a thriving American underground of art-rock, punk, and hardcore music. Labels like Los Angeles’s SST, Minneapolis’s Twin/Tone, and the mega-indie I.R.S. had demonstrated proof of concept, moving tens of thousands of units by bands like Hüsker Dü, the Replacements, and R.E.M. (eagle-eyed viewers may have noted the Murmur poster in the bedroom of Stranger Things’ Jonathan Byers). Taken together, they created the contours of what would become known by the unfortunate appellation “college rock,” and which would eventually become the equally sub-optimal “alternative.” Genre categories aside, the indies filled the pipeline with new artists whose talents deepened the best elements of the rock tradition.

Paul Westerberg’s down-and-out take on lower-middle-class escapist rock was a close cousin to Bruce Springsteen, while Hüsker Dü’s high-energy bedlam and inescapable songcraft owed everything to early Beatles and Byrds. R.E.M. was a ready-made hit machine whose mercurial cleverness and raft of outré influences provided just enough misterioso to mask what was, at base, a wonderfully pop veneer. These bands ultimately succeeded commercially to greater or lesser degrees, but the important point is that they all made for good bets within the industry in that moment. In today’s consensus-driven, sales-starved, risk-averse market, it is fair to wonder whether any of them—or any number of their similarly gifted underground contemporaries—would be provided with the opportunity for exposure to a mass audience today”.

With all of this going on, it is a surprise that Bush had a chance to promote. I would be too distracted by everything happening! Hounds of Love reached thirty in America, number one here…and it was also a significant chart success around the world. As you can see on the Wikipedia page for the album, there was some ecstatic and almost breathless reviews! An album so accomplished, dramatic and instantly classic, Bush produced something instantly relatable yet timeless. Mixing synthesisers and ‘80s sounds with her incredible production and the lush and genre-crossing instruments used on the tracks, this was a rich, nuanced and diverse album that has not dated or lost any of its edge – unlike other albums from that time! Perhaps of what was happening with other artists in 1985, there was this new awareness and appreciation for Kate Bush in the U.S. As GRAMMY write, this was a breakthrough year for Bush. She would continue that great run of acceptance and commercial victory on The Sensual World (1989) and The Red Shoes (1993):

“America, on the other hand, was a little more wary of this incredibly precocious enigma whose literate blend of art-pop, prog-rock and folk often needed its own CliffsNotes. Although second single "The Man with the Child In His Eyes" briefly graced the lower reaches of the US Hot 100, audiences weren’t convinced enough to pick up its parent album. And by her mid-20s she’d essentially been consigned to the status of minor one-hit wonder.

By this point, even Bush’s homeland appeared to have cooled toward her increasingly complex singular vision: 1982’s self-produced The Dreaming, once self-described as the "she’s gone mad" record, sold barely a fraction of its three predecessors and the NME would later run a slightly embarrassing piece asking "Where Are They Now?"

Whereas many of her peers would have panickingly roped in a hit-making team to restore their former commercial glories, Bush doubled down on the D.I.Y. approach for album number five. She built a 48-track studio at the 17th century Kent farmhouse she shared with musician partner Del Palmer. She further utilized the Fairlight CMI, the beast of a synthesizer that she’d first dabbled with on 1980's Never For Ever. And she reportedly presented EMI with the finished product before execs had even heard a single note. This was unarguably Bush at her most autonomous, her most liberated, her purest.

You perhaps might not have expected Hounds of Love, therefore, to reverse her chart fortunes on either side of the Atlantic. Even more so considering its ambitious two-suite concept, with the titular radio-friendlier first soon giving way to a nightmarish tale of survival dubbed "The Ninth Wave." However, the record not only returned Bush to the top of the U.K. charts, it also peaked at a then-career high of No.30 in the States, spawning a bona fide hit single in the process.

Bush had to fight tooth and nail to launch Hounds of Love with "Running Up That Hill" instead of the much-preferred "Cloudbusting." However, she did make a rare concession to her label. The battle of the sexes had originally been titled "A Deal with God" before EMI bosses convinced the singer that its religious connotations would scare off the bible belt. It was the first of several signs that Bush wanted as many people to hear the fruits of her labor as possible.

Indeed, Bush has since garnered a reputation for being so reclusive she makes Howard Hughes look like a social butterfly. But in the fall of 1985 you couldn’t turn on late-night cable TV without hearing her softly spoken English tones answering a variety of inane questions about her anything-but-inane career: she has to work overtime to hide her disdain during this particularly awkward interview on USA Network’s Night Flight.

There were also several radio appearances and, even more remarkably, a signing session at Greenwich Village’s Tower Records store. Yet it was Bush’s embracing of the music video that truly helped her connect with U.S. audiences beyond the fringes of the art-rock scene

By the time the promo for fourth single "The Big Sky," a self-directed blend of cosplay, sci-fi imagery and flamboyant stage performance, dropped, MTV was a fully signed-up member of the Bush fan club. They even went on to gift her consecutive Best Female Video nominations at the VMAs.

The critical response, in general, had been much kinder, too. Indeed, while Rolling Stone dismissed Hounds of Love as an album that both “dazzles and bores,” the Boston Globe, Wall Street Journal and Los Angeles Times were far more complimentary, with the latter describing it as "a dark and dreamy masterpiece”.

 IN THIS PHOTO: Kate Bush signing copies of Hounds of Love in 1985 at Tower Records in New York City

We can see where Hounds of Love fitted into music in 1985. I am going to quote from tat Wikipedia page. If the response from U.S. critics was a little mixed, the consumers there were more attuned and wise! Some felt the lack of boundaries. There were insulting opinions that found Hounds of Love boring. That lack of boundaries and the wide-ranging nature of the album was childish and quite immature, some said. There was snobbish attitude from a lot of the U.S. press. I wonder how many of those reviews are still alive – not many I hope! – who had to eat their words and were embarrassed all these years later when it is seen as one of the greatest albums ever! The kinder U.S. press applauded the visions and ambitions and found it a shame that there was more love for her music in the U.S. than over there. The U.K. press, familiar with and used to the distinct Kate Bush sound, saw Hounds of Love for what it is: a masterpiece of scope and substance; Kate Bush at her peak as a producer:

“Hounds of Love was met with widespread critical acclaim. In the UK, most reviews of the album at the time of its release were overwhelmingly positive. In a five-star review, Sounds called Hounds of Love "dramatic, moving and wildly, unashamedly, beautifully romantic", before going on to state, "If I were allowed to swear, I'd say that Hounds of Love is f***ing brilliant, but me mum won't let me". Record Mirror also gave the album five stars, stating that it "recaptures the ground Kate lost with her last album" and concluding, "A howling success? I think so." NME said, "Hounds of Love is definitely weird. It's not an album for the suicidal or mums and dads. The violence of The Dreaming has turned into despair, confusion and fear – primarily of love, a subject that remains central to Bush's songwriting." The review then went on to scorn the idea that by signing to EMI Records as a teenager, Bush had allowed herself to be moulded in their corporate image, suggesting that on the contrary, it had enabled her to use the system for her own devices: "Our Kate's a genius, the rarest solo artist this country's ever produced. She makes sceptics dance to her tune. The company's daughter has truly screwed the system and produced the best album of the year doing it." Melody Maker was more reserved, saying, "Here she has learned you can have control without sacrificing passion and it's the heavyweight rhythm department aided and abetted by some overly fussy arrangements that get the better of her". It was particularly disappointed by The Ninth Wave suite on the second side of the record, feeling that "she makes huge demands on her listener and the theme is too confused and the execution too laborious and stilted to carry real weight as a complete entity”.

There is going to be a reissue of the magnificent and faultless Hounds of Love. It is the first time one of her studio albums has received this special treatment. A more expansive release that, maybe, will bring together magnificent B-sides like Under the Ivy (a great ‘lost’ classic from Bush):

“Kate Bush’s 1985 album Hounds Of Love will be reissued on CD and vinyl later this year, it has been announced.

The album spawned the hit single ‘Running Up That Hill’ which reached number three back in 1985 and then hit number one in the UK last year thanks to its inclusion in Netflix’s Stranger Things. The album spawned three other top 40 UK singles in ‘Cloudbusting’, ‘Hounds of Love’ and ‘The Big Sky’.

Side 2 is home to the conceptual The Ninth Wave which was performed live on stage in its entirety during Kate’s Hammersmith Odeon residency in 2014 and, from Kate’s back catalogue, only the 1986 hits compilation The Whole Story has sold more copies in the UK than Hounds Of Love.

Hounds Of Love remains the only Kate Bush studio album that has been expanded into any kind of ‘deluxe’ edition when in 1997 EMI issued a new CD edition as part of its Centenary celebrations with a modest six extra tracks”.

The legacy and importance of Hounds of Love is huge. It made Bush an icon and this cool and respected artist from one who was seen as weird and inaccessible to many. Couple that with the fact that there is nothing but wonder and brilliance through the album. Maybe, because Hounds of Love was like nothing in 1985 (maybe Tears for Fears were the closest British comparison?!), critics were not prepared by what came! It seems baffling now that there was ay reservation. Seen by most critics and fans as Bush’s magnum opus, Hounds of Love continues to find success and new listeners to this day. Because Stranger Things used Running Up That Hill (A Deal with God) in an episode, that meant the song and album got a new wave of sales and streams. A 2021 feature I have referenced before from DJ Mag discusses the impact and legacy of this masterpiece:

“Hounds Of Love’ is quite the opposite of many early electronic music records, where the electronics were designed to draw attention to their new glittery selves and show off the world of machine possibilities. On ‘Hounds Of Love’, everything is subsumed into the music. For Bush, the Fairlight was a new “tool” for writing and arranging, as she explained to Option magazine in 1990, “like the difference between writing a song on a piano or on a guitar.”

The use of the word ‘tool’ is critical: The Fairlight was important for what it did, not what it was. And what it did was to open up Bush’s world to a new range of sonic possibility, as she explained to Option like a proto-Matthew Herbert: “With a Fairlight, you’ve got everything: a tremendous range of things,” she said. “It completely opened me up to sounds and textures and I could experiment with these in a way I could never have done without it.”

What is perhaps most striking about ‘Hounds Of Love’ is that, rather than settling down into a new electronic habit, Bush used her new digital equipment in a number of different ways, depending on the song’s demands. ‘Running Up That Hill,’ the album’s gorgeous opening song, uses a subtly propulsive, rolling tom pattern on the LinnDrum (the work of Bush’s collaborator and then romantic partner Del Palmer) that lays alongside cello samples from the Fairlight, which Bush manipulated to create both the main riff and backing strings.

Music Radar called this one of the 40 greatest synth sounds of all time in April 2021 and it is hard to disagree, the synth both tender and idiosyncratic, while slightly lost in the ether, the perfect accompaniment to the song’s gorgeously dreamy melody. It’s a remarkable achievement that on a song that features one of Bush’s strongest vocal melodies, the synth line is equally iconic, a vital component in one of Kate Bush’s biggest hits. The well-named ‘Under Ice’ has another brilliant synth sound, its chilling tone strangely reminiscent of the glacial eskibeat tones that grime pioneer Wiley would favor two decades later.

The influence of Kate Bush on electronic musicians is there for everyone to see. Rave producers loved to sample Bush’s idiosyncratic melodics, and there is a whole generation of British ravers who will be forever unable to think of ‘Cloudbusting’ without imagining chart-troubling rave duo Utah Saints, who swiped its chorus for their UK hit ‘Something Good’.

Björk, Big Boi and Aphex Twin are some of Bush’s most high-profile musical fans — Big Boi once called her “my favorite artist of all time” — while pretty much anyone who was anyone in British music attended her live residency in London in 2014.

One could think of Kate Bush’s major influence on electronic music, though, as something almost subliminal. You would be hard pressed to name many records that sound like ‘Hounds Of Love’, because recreating the sound at the time would have needed hundreds of thousands of dollars worth of equipment, while today the relentless advance of electronic music technology means that the sounds of the LinnDrum and Fairlight have been replaced with newer gear. Besides, who has the talent to come up with a ‘Hounds Of Love’?

For those of us who grew up on the music of Kate Bush, her music was a subtle but important introduction to the power of electronic music, those synths and samples snuck in under layers of glowing pop melody and mainstream radio finesse, like a kind of avant-garde smuggling operation. For a generation of music fans, Kate Bush got electronic music settled deep under our skin, at a time when house music was only just starting to emerge from Chicago and techno was but a twinkle in Detroit’s eye, an innovative wolf in pop sheep’s clothing, twice as deadly and several times more elegant”.

On 16th September, thirty-eight years after its release, fans new and old will celebrate and play Hounds of Love. I wanted to talk about 1985 and the cultural and music world the album arrived in. With major political events and a huge fundraiser in the form of Live Aid happening simultaneously, it must have been a strange time to release an album! Not that it would get overshadowed, but maybe the artists who performed at the event would see renewed interest and sales – maybe burying Hounds of Love slightly. In the U.S., there was awareness of Kate Bush and shoots of green leaves in terms of sustainability. Hounds of Love may have left some critics (or cu*ts) there cold, but the music buyers – many of whom would have been teens or in their twenties – ensured that this classic would not be overlooked. Bush travelled to the U.S., where she did signings and promotional interviews – some of which were quite arduous and strained (interviewers not doing their homework!). She has recently discussed the renewed interest in Running Up That Hill (A Deal with God) . Without doubt, Hounds of Love is seen as one of the all-time greats. I wonder if Bush or any of her fans had an inkling of what was going to be unleashed into the world…

ON 16th September, 1985.

FEATURE: Revisiting… Lankum - False Lankum

FEATURE:

 

 

Revisiting…

Lankum - False Lankum

_________

AN album that was nominated…

for the Mercury Prize this year, I wanted those who have not heard Lankum’s (Cormac MacDiarmada, Radie Peat, Daragh Lynch and Ian Lynch) fourth studio album, False Lankum, to do so. The Dublin quartet arguably released their best album yet on 24th March, Released through Rough Trade, this is an album that everyone should hear! Although False Lankum won rave reviews, maybe this is a band and sound some people have avoided. Maybe feeling that it might not be for them. This is an album that I would recommend people investigate. Even if it did not win the Mercury Prize, the fact it got nominated and False Lankum is seen as one of the year’s best albums means more people should listen to it. I only hear a select few radio stations play songs that should be heard by everyone. Beautiful renditions of traditional songs (with a couple of original compositions), there is that darkness and distortions combined with something more traditionally Folk. I will end with a couple of reviews for False Lankum. First, this is what Rough Trade say about this award-nominated gem from Lankum:

“False Lankum follows their 2019 breakthrough album The Livelong Day, which paved the way for critical and commercial success, earning them that year’s RTE Choice Music Prize (the Irish equivalent of the Album of the Year Grammy) and the #8 spot on NPR Music’s Best Albums of the Year list. Drawing on traditional folk songs, Lankum put their own dark, distinctive mark onto each, leaning into heavy drones and sonic distortion that imparts new intensity and beauty into each track. This record sees the band cement their breakout from the folk genre, creating bold, contemporary music that may be fashioned from traditional elements but is firmly new, sitting comfortably alongside Rough Trade labelmates like black midi and Gilla Band. False Lankum also features two original tracks, ‘Netta Perseus’ and ‘The Turn’, both penned by the group’s Daragh Lynch.

‘Go Dig My Grave’ was discovered by Lankum’s Radie Peat who learned the particular version on the album from the singing of Jean Ritchie, who recorded it in 1963 on the album Jean Ritchie and Doc Watson at Folk City. It is a member of a family of songs which seem to be largely made up of what are known as ‘floating verses’, originally composed as stanzas of various different ballads, some of which date back as far as the 17th century.

“'Our interpretation of the traditional song Go Dig My Grave is one that centres around the emotion of grief – all-consuming, unbearable and absolute” explain Lankum, “A visceral physical reaction to something that the body and mind are almost incapable of processing. The second part of the song is inspired by the Irish tradition of keening (from the Irish caoineadh) – a traditional form of lament for the deceased. Regarded by some as opening up ‘perilous channels of communication with the dead’, the practice came under severe censure from the catholic church in Ireland from the 17th century on.”

From the start, Dublin’s Lankum planned for False Lankum, their fourth record and third for Rough Trade, to feel like a complete piece – a progression and a journey for the listener. “We wanted to create more contrast on the record so the light parts would be almost spiritual and the dark parts would be incredibly dark, even horror inducing,” they explain. The album’s 12 tracks, composed of 10 traditional songs and two originals, show the four-piece using a new palate to colour their sound in an increasingly experimental way, alongside longtime producer John ‘Spud’ Murphy”.

I will come to some reviews soon. Earlier this year, Uncut chatted with Lankum about their new album. A group that have been releasing hugely acclaimed music since their start, False Lankum was their first album since 2019’s The Livelong Day. Given the fact False Lankum is so good means that many people are intrigued to see what the group produce on their next album. There is a real sense of excitement around them:

“UNCUT: It’s been a while since The Livelong Day. How did your writing and recording process change in this time?

IAN LYNCH: The Livelong Day came out in October 2019 so we only did a few short tours before lockdown. We used the time quite well, delved into some personal projects and then after a year we were ready to start on an album. We had the use of a property n Dublin, a 220-year-old tower that I was minding for the owner. It was the perfect place to work on an album. We’d spend time there, then go to the studio for a week and lay down some stuff, then take a break, return to the tower for a week or two, before doing another week in the studio. We kind of did that over the course of six or seven months in 2021 as we gradually assembled the album. That was very different to how we worked before. Normally, we would have got some material, worked it up to a certain level and then gone into the studio for three weeks and lost our minds down the rabbit hole. This was done in short stints, and meant we came back to the studio we’d almost forgotten what we had already done. It took a lot longer but it’s a lot easier on the brain.

How does a typical Lankum song develop?

We had very rough ideas of arrangements but 75% happened in studio where we experimented with sounds we’d never tried before. That was a very exciting part of the process. I learnt how to use tape loops and we did that a lot. We’d take the hair off the bow of the fiddle and use that on the wires of the piano, we used a detuned hammer dulcimer, tried different tunings on banjo and guitar, used pedals, delay and reverb and put different found sounds in the mix.

How do you get the balance between tradition and experimentation?

Getting it right is very subjective, all you can rely on is your own musical instincts and what sounds good to your ears. What we are doing isn’t traditional or folk. There are elements of that, but there are many different elements and finding the balance is a very subconscious thing. We have immersed ourselves fully in the tradition. We have spent a good many years learning and performing traditional songs and playing them in traditional settings. But we have a lot more going on in our brains than just traditional music and if we didn’t let that come into our music, we wouldn’t be true to ourselves.

How do you choose the material you cover?

We are always coming across new traditional songs or we might have one we’ve been singing for years. There are lots we bring to the table that don’t work out. Maybe not everybody is into them, or we have tried to arrange them and it just doesn’t click for whatever reason. There are certain songs we have tried to record every time we do an album and haven’t managed to get right. We are quite strict on ourselves. It has to get through our filter. Certain songs don’t translate and it can be heart-breaking because it might be a song you are really invested in but you have to put it by the wayside. We are constantly refining and distilling. We will record a certain number of tracks and then have to work out how they fit into the narrative of the album.

What’s the narrative on this one?

The sea is a very strong theme. That was completely accidental but when we put the songs together we saw that every song seemed to have a maritime connection. It fit into how we were working because the tower we were staying in was right beside the sea and I was sea-swimming every day. Darragh and I grew up by the sea and our uncle is a sailor. All that came together. On a musical level, there’s a real ebb and flow to the songs, that lightness and darkness. We wanted to create a dialogue between the two elements and that was an expansion on the last album, with the dark elements being a lot darker and more apocalyptic and the lighter elements are sweeter and more beautiful.

Not all of the traditional are that old – “Clear Away In The Morning” and “On A Monday Morning” are both quite recent I noticed?

The Gordon Bok and the Cyril Tawney songs. We came across them in a traditional context, you’d hear somebody sing it and think ‘oh that’s deadly’. I think Darragh brought those two and I’m not sure he realised how recently they were composed. That speaks to the kind of ever-changing nature of the tradition, that it’s not something that is stagnant and pure. There is always more material being added to it over time.

People have this idea of the tradition as something that’s unchanging with a certain number of songs but these songs didn’t come out of thin air, they were all written by somebody at some stage and had to find their place in the stream of the tradition. It’s important to recognise that is still happening today. Maybe the function of the songs has changed, society is different, but the human need to tell stories and sing as a social way of engaging has remained unchanged over the years. That speaks to my own interest as a folklorist, that these process are eternal and endemic to human nature”.

I am going to wrap up with a couple of reviews. Scoring incredibly positive reviews across the board, False Lankum is an album impossible to ignore or be unaffected by. It will register with and affect everyone who listens to it. This is what AllMusic noted in their review:

“Even the cruelest ballads can be blunted into mere bittersweetness to better suit the palates of listener and interpreter alike. Not so for Lankum, Ireland's uncompromising purveyors of doom folk. The Dublin quartet has been around since the early 2000s, though it was their 2017 signing to Rough Trade that eventually thrust them into the critical spotlight. Albums like Between the Earth and Sky and The Livelong Day revealed a band of singular intensity, able to translate ancient songs in ways that were innovative, yet primal. Uniquely, for all of their experimental droning and psychedelic edginess, they also seem utterly devoted to their source material. False Lankum, the band's third outing for the label, is a nihilistic, almost comically bleak trek into the dark heart of folk music. A wounded backwash of dissonance plays throughout most of the set, creating a sense of unease as songs spill into one another in a gapless sequence. The magnetic Radie Peat opens the album with her reading of "Go Dig My Grave," a suicide ballad that moves from mournful austerity into a full-on horror show during its eight-minute run.

The fiddle reel, "Master Crowley's," played here by a phalanx of concertinas, devolves into a coughing death march and is one of the most thrilling tracks on the album. Not even Gordon Bok's wistful maritime classic "Clear Away in the Morning" is safe from Lankum's black cloud which transforms it into a desolate sea burial. Heartbroken as it is, the gorgeous "Newcastle" offers something of a mid-album reprieve, as does "Lord Abore and Mary Flynn," two tracks that bring a welcome touch of sweetness to the proceedings. Augmenting the traditional songs are two well-placed Lankum originals, the swirling "Netta Perseus" and the 12-minute closer "The Turn," the final quarter of which is a squalling disaster sequence that will challenge even the hardiest listener. False Lankum sounds like industrial music from the 19th century and provides all the comfort of a late period Scott Walker album. And yet, the road of Lankum's career has resolutely led them to create this: a difficult but defining statement made at the height of their powers”.

I will end with a review from The Guardian. So impressed with False Lankum, they awarded it five stars! It is clear that this is an album that cannot pass you by. If you think it is not for you, then I would encourage you to give it time and take a dive in:

“Lankum’s fourth album goes to new extremes, and not simply by dredging more trenches of their trademark gothic intensity. Four years after 2019’s raw-skinned The Livelong Day, with its exploratory epics, False Lankum teems with similar moments of iridescent bliss. But the 12 tracks here also unfurl into each other without a break, alternately lulling the listener then casting them into storms of shuddering sounds.

Recorded in Dublin’s Hellfire Studio by day, while the band spent their nights sleeping in a Martello tower on the coast, False Lankum begins with Radie Peat, the best folk singer of our times, instructing us to Go Dig My Grave. When Peat sings she magically straddles realities, sounding both like an uncompromising everywoman and a mystical instrument of bellows and reeds – a magic she employs to spiritual effect on the beautiful 17th-century ballad Newcastle.

Other tracks, such as Netta Perseus and Clear Away in the Morning (by US folklorist Gordon Bok), underline the band’s incredible facility with harmony. Their version of the latter is as accessible as Fleet Foxes’ White Winter Hymnal, full of exquisite softness – at least until their take on Master Crowley’s arrives, a menacing concertina reel that sounds precision-tooled to jar devils awake.

There is so much to revel in here: three instrumental fugues that are more about atmospheric discombobulation than repetition; Cormac Mac Diarmada’s sweet vocal debut on Child ballad Lord Abore and Mary Flynn; their deeply affecting turn through Cyril Tawney’s On a Monday Morning; the way hurdy-gurdies, hammered dulcimers and bowed piano strings create enveloping filmic canvases.

On recent form, Lankum could have become a hardcore drone band very easily, but they’ve done something braver by allowing their gentler sides a bold voice in the mix, while managing not to dilute their power or compromise their ambition. With a 3,300-capacity Roundhouse date later this year, they remain a radical band while making music that is reaching out to the mainstream – while also giving off the thrilling sense that there is so much more to come”.

So consistent and always arresting, Lankum have gifted us something heavenly and potent with False Lankum! One of the albums nominated for the Mercury Prize recently, that nod will take them more into the mainstream. I hope that the honour means that there music will get into more hands. Earlier this year, the stunning Dublin quartet delivered…

ANOTHER heart-stopping and tremendous album.

FEATURE: Kate Bush Hounds of Love at Thirty-Eight: Revisiting Her Most Potent and Powerful Title Track

FEATURE:

 

 

Kate Bush Hounds of Love at Thirty-Eight

ART CREDIT: Sarah Trafford

Revisiting Her Most Potent and Powerful Title Track

_________

THAT be a major claim….

 IN THIS PHOTO: Kate Bush captured in 1985 during the Hounds of Love video shoot (which she directed)/PHOTO CREDIT: John Carder Bush

but, even though The Sensual World has an incredible aura and power to it, I don’t think that there has been a title track as memorable as Hounds of Love’s. As the album turns thirty-eight on 16th September, I wanted to use this feature to explore its phenomenal title song. Most of the time, when you look at rankings of the best Kate Bush songs/singles, Hounds of Love is in the top ten – in cases like this, this, and this, they are comfortably in the top ten - for the most part. I shall come to details and background of the song in a minute. Released as a single on 24th February, 1986, it reached eighteen in the U.K. that year (it got to eight when it was re-released in 2005). It always staggered me to think that the British public felt there were seventeen better songs out there in 1986! Undoubtably one of Kate Bush’s greatest moments, many prefer Hounds of Love over the album’s most-famous and streamed song, Running Up That Hill (A Deal with God). The video for the song was Kate Bush’s first time directing solo. She put her individual stamp and influences on it. It remains one of her most beautiful and memorable videos. One of the most wonderful things about Hounds of Love is it rawness and emotion. Bush could have put this song first on the album – it is the second track -, but she wanted to open with the more uplifting and less intense Running Up That Hill (A Deal with God). No sooner have you regained your breath from that listening experience, before you are running away from baying and determined hounds of love!

In June, when MOJO named Kate Bush’s best fifty songs, they put Hounds of Love at the top. This is what they had to say about a cinematic, epic, personal, and yet universal song:

“No matter how refined the circumstances of its creation – built at leisure in Bush’s new 48-track studio – or how newfangled its production – still tangible in the hi-tech stabs and pads of Fairlight, and the crispness of Jonathan Williams’ cello – Hounds Of Love is red in tooth and claw, its breathless, atavistic fear of capture mixed with almost supernatural rapture. Love is thundering through the psychosexual woods, hunting down somebody terrified of what it means to surrender to another person. The song opens with a quote from British horror film Night Of The Demon but that’s the only moment it feels like theatre. From then on, Hounds Of Love maintains a dizzying emotional velocity, the relentless double drumming of Charlie Morgan and Stuart Elliott stamping down on the accelerator. Bush’s voice might dip and soften, but those drums are merciless, while the strident backing vocals, like a hunting horn call, goad her on if introspection threatens to slow her down. It never lets up, every line heightening the pitch, closing the distance between song and listener. It ends with a suddenness that makes it seem like she’s hit the ground and you’ve hit it with her, breathlessly waiting for an answer to the question: “Do you know what I really need?” The uncertainty, however, is not reflected in the confidence – the perfect, dazzling completeness – of the song’s execution. On Hounds Of Love, Kate Bush is going at full pelt, chasing the horizon, running her vision to ground. Not really the hunted, but the hunter all along”.

With various B-sides - The Handsome Cabin Boy, Jig of Life, Burning Bridge, and My Lagan Love – depending on the country, Hounds of Love is one of Kate Bush’s finest singles. One that deserved to do much better. Although The Futureheads covered the song in 2005, it could not get anywhere near to the original: just over three minutes of musical perfection! It is the shortest of the four songs on the first side of Hounds of Love, and yet it seems to pack so much in! In addition to Bush’s remarkable input, it is the cello of Jonathan Williams that makes a big difference. It gives Hounds of Love that drama and grandeur that it requires. Hounds of Love resonates, inspires and endures, as it is a song we can all appreciate and relate to. Bush felt that she was being chased by love or this fear. Rather than literal hounds, this was something dark and maybe internal that was causing anxiety. As we see in these interviews, Bush had this very vivid and universal picture of what the majestic title track would be:

“['Hounds Of Love'] is really about someone who is afraid of being caught by the hounds that are chasing him. I wonder if everyone is perhaps ruled by fear, and afraid of getting into relationships on some level or another. They can involve pain, confusion and responsibilities, and I think a lot of people are particularly scared of responsibility. Maybe the being involved isn't as horrific as your imagination can build it up to being - perhaps these baying hounds are really friendly. (Kate Bush Club newsletter, 1985)

The ideas for 'Hounds Of Love', the title track, are very much to do with love itself and people being afraid of it, the idea of wanting to run away from love, not to let love catch them, and trap them, in case th hounds might want to tear them to pieces and it's very much using the imagery of love as something coming to get you and you've got to run away from it or you won't survive. (Conversation Disc Series, ABCD012, 1985)

When I was writing the song I sorta started coming across this line about hounds and I thought 'Hounds Of Love' and the whole idea of being chasing by this love that actually gonna... when it get you it just going to rip you to pieces, (Raises voice) you know, and have your guts all over the floor! So this very sort of... being hunted by love, I liked the imagery, I thought it was really good. (Richard Skinner, 'Classic Albums interview: Hounds Of Love'. BBC Radio 1 (UK), 26 January 1992)”.

Hounds of Love has inspired so many people. As a single piece of work, it is  almost unsurpassable! On an embarrassment of riches like the Hounds of Love album, it nicely follows from the epic and now number one single, Running Up That Hill (A Deal with God), and then we get the joy and child-like jubilance of The Big Sky. Perfectly placed in the pack, this timeless song will be influencing artists for years to come. I found a radio feature from 2018, where Greta Gerwig – who was promoting her directorial debut, Lady Bird – discussed songs that she is obsessed by. This is what she said of Hounds of Love:

“AB: What did you bring today?

GG: Well, I brought in a variety of songs. They all qualify as songs that I have listened to obsessively.

If I love a song, I listen to it over and over and over again. Until I feel like I can never hear it again and then I won’t listen to it for six months and then I will rediscover it. So the first song is "Hounds of Love" by Kate Bush. I find her lyrics mysterious and evocative - almost like poetry -- and there is a real spaciousness to her music that feels cinematic to me. But specifically with this song, "Hounds of Love", I had really been obsessed with it for a long time. But then I did a play - it was called “The Village Bike" -- and in the play a women is taken over by irrepressible, destructive lust and there was something about this song that really tapped into that for me.

I'm a person who lives with very vivid emotions that feel like they often can only be expressed in heightened states of either music or poetry or films or theater and I think that she makes the kind of music that feels like she is always at a 10, emotionally. That level of just sheer emotion and excitement, and it taps me into probably the reason why I make art.

AB: That's great. So up first we have "Hounds of Love" by KCRW favorite Kate Bush”.

Before I sum up, there is an interview I want to get to. In it, the title song from Hounds of Love is mentioned. Hot Press conducted the interview and published it in November 1985. It is interesting how the song was viewed (by the anonymous male journalist). Bush, as you can reads, is always eager and assertive when it comes to people misreading a song or over-analysing:

“In a funny way, there's quite a strange kind of sexuality that comes across through all your photography. For example, the second album, where you are in the lion's costume.

"Yes, it didn't occur to me again--it really didn't-- until people started saying 'Oooh!' And I couldn't see it."

I suppose it's--On an entirely crude level with Hounds of Love, the implication is of consorting with animals...

"Yes, I see, Hounds of Love, definitely. It's fascinating, I think, the idea of humans becoming animals. Like the guy in An American Werewolf in London -- It's really the first time it's been done well, isn't it, the idea of a man actually transferring into an animal. It's got a wonderful, very primeval, magical sense about it. And I suppose that dividing line--We are animals but we are different, we are much more intelligent--There is a separation but there isn't. It can be really disturbing, I think, really scary. Interesting."

When you see an image, you automatically read meanings into it. There are certain connotations that are unavoidable, and implicit. The latest sleeve: I would have thought lying with two dogs asleep, entitled The Hounds of Love [sic], connecting the two you have created quite a definitive...

"Yes. I think Hounds of Love is very obvious--quite a lot of people have suggested that. But when you think of it in terms of the song it's completely different. It's the sense of the 'hounds' of love: the hound symbolically representing that force. You're terrified of it so you run, but it keeps coming after you, and you're terrified that when it catches you, it's going to hurt you."

But if you interpret that on a subconscious level, what does it mean?

"On a subconscious level! What are we getting into, Freud?"

Well, why not?

"I haven't gone that far. It was an image, the idea of being scared. Instead of this force of man, it was a pack of hounds."

But what are people afraid of? People are afraid of sex. People are fascinated by it, but it does also have the quality of inspiring fear. And particularly if it's with somebody or something which isn't an accepted part of everyday situations. So it's to do with temptation, and once you commit the sin, everything is actually fine--because that's what people experience in relation to sexuality. [Huh?]

"I suppose you're right. I suppose the fear of relationships is what it's about, but obviously it's dealing with a man and woman, and that does have to do with sexual energy”.

Actually before I wrap up, it is worth looking back: the origins of the album and how it got started. I think it is important to consider the mindset, mentality and position Bush was in writing Hounds of Love (album). She was in inspired mood. Creating something like the title track, I think, requires a certain backdrop and network of people around you. As we see from this interview with Fachblatt Musikmagazin, the title song really does define the album. It is the biggest statement:

“FACHBLATT: And why is the album called "Hounds Of Love"? These seem to be two contradicting terms.

KATE: No, these are the hounds who chase - symbolically of course - those who fear love, who is frightened to be "trapped" by it. But they aren't really bad hounds, you can see on the cover how gently and nice the "Hounds Of Love" are.

FACHBLATT: Do you rather think of it as an advantage or a disadvantage that there's so much time between your albums?

KATE: I cannot answer this question this way, since it simply is as it is. I never said: I need two or three years to make an album. I just began. Whereever this leads - as long as it's positive and productive I continue to do it. If you do your work honestly and with your whole heart It will tell you what to do...

FACHBLATT: But outside there's nobody who tells you if you are on the right way. Someone who brings out a single every second month experiences very fast how the course is at the moment.

KATE: That is a frustrating aspect of my method of working. Besides I also like to busy myself with other ideas and projects. But I cannot run away from the things I have to do at the moment. That takes my complete energy. I just have to bring such sacrifies, and with me it lasts longer as with others.

FACHBLATT: When did you start with "Hounds Of Love"?

KATE: 1983 the studio was built and set up, and in the beginning of 1984 I started with the album, all in all 18 months of work.

FACHBLATT: In such a long time many things can change. Wherefrom do you take the safety that in the end you find those things you recorded in the beginning as good and important?

KATE: Well, if something does not work at all, because you did get off course, you just have to have the courage to stop there, even when you already did invest a lot of time and work. But this happens very seldom with me, and except those two or three pieces with heavy changes that I did mention earlier the founding structures did not change. Changes did mostly occur only in the fine parts, when we for example exchanged Fairlight violins by real strings. I wanted to replace many Fairlight passages by real instruments from the beginning”.

The masterpiece that is Hounds of Love is thirty-eight on 16th September. I had to take a moment to recognise and salute its celebrated and faultless title song. Even if Running Up That Hill (A Deal with God) gets most of the attention when it comes to the album’s singles, I think that the title track is the most important. From that opening sample of “It's in the trees/ It's coming!" – a quote from Night of the Demon by Maurice Denham -, to the impassioned and almost heartbreaking “Do you know what I really need?/Do you know what I really need?/I need love love love love love, yeah!”, Hounds of Love is astonishing! Revered by so many people, I wanted to use one of the Hounds of Love anniversary features highlighting its incredible title track. If Bush sings in the song “I've always been a coward”, it is clear that, with the title cut from Hounds of Love, she created such…

A brave and incredibly strong confession.

FEATURE: Before the Lights Come Up: Amy Winehouse at Forty: The Lead-Up to Frank

FEATURE:

 

 

Before the Lights Come Up

IN THIS PHOTO: Amy Winehouse on Princelet Street, Brick Lane in East London, 2003 for the Frank album cover shoot/PHOTO CREDIT: Charles Moriarty

Amy Winehouse at Forty: The Lead-Up to Frank

_________

ON 20th October, 2003…

 PHOTO: Curlers At The Ritz NYC/PHOTO CREDIT: Charles Moriarty

Amy Winehouse released her astonishing and mesmeric debut album, Frank. I am thinking about her because, on 14th September, it would have been her fortieth birthday. We said goodbye to her in 2011. It was a massive loss to the industry. In a previous feature, I looked at her music and said what an impact Frank and 2006’s Back to Black created. When I think of Winehouse at her best and most excited, my mind sort of goes to before Frank. Maybe just before her debut came out - though perhaps even further back. This artist barely twenty who was ready to release this exciting work into the world. I know that there are various Amy Winehouse-related things speculated for the future. There is a biopic in the works. I know, on 14th September, fans around the world will remember her on her fortieth birthday. It will be bittersweet: a mixture of thanks for what she gave us, coupled with the knowledge we will not hear that once-in-a-generation voice sing something fresh and new-born. It will remind us how much she is missed; through we can look back at the incredible music she left and the peerless talent that she possessed. I might end with an interview around the time of Frank’s release. I am also compelled by the early years for a legendary artist. How they were being seen, how we view them in retrospect, and just how their career changed. In the case of Amy Winehouse, she was truly herself before Frank. Sweet, funny, real and ambitious, it was the way her career took off and the pressure the media put on her – and how they vilified her at every opportunity – that lead to her premature passing.

The way the tabloids press hounded her and made it impossible for her to live a normal and happy life! As she left us aged only twenty-seven, we will never know just where Amy Winehouse could have gone. Future albums could have seen her step in a new direction. Maybe collaborations and huge awards. Films and other projects. Sadly, we will never know. There are some books and sources I would recommend as we think about Amy Winehouse. I will come to a fascinating book, where Charles Moriarty discussed snapping Winehouse (the photos throughout this feature are all his work). He met her in June 2003. He was responsible for the iconic cover shot of Frank. Before Frank is a book I would recommend everyone who is a fan of Amy Winehouse gets! Another book I would get, to get an idea of the real Amy, is Amy Winehouse: In Her Own Words:

“Global icon. Six-time Grammy winner. Headline-maker. The most talented recording artist of her generation.

Much has been said about Amy Winehouse since her tragic death aged just 27. But who was the real Amy?

Amy Winehouse: In Her Words shines a spotlight on her incredible writing talent, her wit, her charm and lust for life. Bringing together Amy's own never-before-seen journals, handwritten lyrics and family photographs together for the first time, this intimate tribute traces her creative evolution from growing up in North London to global superstardom, and provides a rare insight into the girl who became a legend.

The Estate of Amy Winehouse will donate 100% of the advance and royalties it receives (net of agency fees charged) from the production and sale of this book to The Amy Winehouse Foundation (registered charity number 1143740). The minimum donation will be £70,000. These funds will assist the charity in continuing their vital work helping thousands of young people to feel supported in managing their emotional wellbeing and making informed life choices. Initiatives include Amy's Place, which provides addiction recovery housing for young women; resilience-building programmes in schools and music therapy programmes supporting children with special educational needs and life-limiting conditions. More information can be found at https://amywinehousefoundation.org”.

As we look ahead to Amy Winehouse’s fortieth birthday and wish she was with us. I am considering 2003 and a year where she was getting buzz and was preparing to release her debut. The first single, Stronger Than Me, came out on 6th October – two weeks before Frank arrived in the world and heralded a unique and stunning talent. Here is a great feature where Charles Moriarty discussed meeting and working with Amy Winehouse:

“The album cover for Amy Winehouse’s 2003 debut album FRANK, showing the 19-year-old artist smiling and carefree, glowing with health, leading two dogs in the streetlight has become all the more iconic with the singer’s tragic passing. The story behind the image and its associated shoots is fascinating, the result of a chance meeting with Dublin-born, London-based portrait photographer Charles Moriarty.

Winehouse put on her make-up, took her guitar, and at dusk the pair headed out into the East End of London. “It was about going out and having fun, really,” Moriarty explains. “I mean, we had a bottle of wine on the side of the street!” At that time in her life Winehouse was still inexperienced in front of the camera so to distract her, Moriarty borrowed two Scottish Terriers from a passer by. “I felt up until that point that we hadn’t gotten what we needed, or it wasn’t quite working. I think that the dogs were a good distraction from the camera for Amy – they allowed her to focus on them, rather than the fact that I was taking a photograph.” It worked. “That was it, that was the shot.”

It’s actually the ones that are very funny that I love. The ones where she’s got the curlers in her hair, there are moments where she reminds me of Lucille Ball and it makes me laugh.

PHOTO CREDIT: Charles Moriarty

After seeing the images, Winehouse’s manager, Nick Shymansky asked him to shoot the album inlay too. “Amy and I both agreed that we wanted to keep it personal and about her, so photographing her at home in Camden would be the best thing to do, but I was going to New York. There ended up being one night between her recordings in New Jersey and Miami where she could come and see me.” It would have to be a night shoot between her increasingly busy recording schedule. “Nick said to me, ‘I know you want to shoot in London but we can’t, so try to make it look like London at night time’. I was like ‘okay, that’s impossible!’”

Following a trip to avant-garde Sex and the City stylist Patricia Field’s shop for clothes and stopping for cocktails as they went location scouting, they ended up in a bar in downtown Manhattan drinking white wine to ride out a passing storm. “As we waited for night, this huge thunder and lightning storm happened for six hours, so basically our location died, as did we when we drank.”

Eventually, the storm subsided, and they slipped out into the New York night. “We were a little drunk, but we did actually get some great shots.” These are some of his favourite images. “It’s actually the ones that are very funny that I love. The ones where she’s got the curlers in her hair, there are moments where she reminds me of Lucille Ball and it makes me laugh.” Moriarty gifted one of his favourite images to the National Portrait Gallery. “I look at that image and it doesn’t essentially belong anywhere in the last fifty years, it could be any time. She looks like she’s about to go out in the 1960s in New York.”

PHOTO: ‘Laundrette 1’/PHOTO CREDIT: Charles Moriarty

It was at the BFI screening of Asif Kapadia’s documentary Amy in 2015 that Moriarty realised he had to bring his images to light. “I remember finding it very difficult. The first hour was amazing because it felt like you were back in the room with someone that you knew – and the voice. It was strange but lovely. The second half was upsetting and painful, I felt that the person most people knew was this person who was suffering greatly towards the end of her life, someone I don’t really recognise. I really wanted people to see who I knew, the person I was friends with.”

“I suppose that has always really been the drive of the book, to create something that everyone can hold onto, that holds my own memory. I don’t have very many of them, but these ones are great.” The collection of almost 60 photographs represent a snapshot in time of an emerging artist finding her style and voice. “They really do capture a moment of change in someone’s life that is really wonderful, that moment where all of a sudden you step up to really show your metal, put your voice out there. You know, her voice was so amazing, as was she”.

 PHOTO: ‘NYC Phone booth’/PHOTO CREDIT: Charles Moriarty

I want to end with an interview from the archives. Dazed & Confused spoke with Winehouse in 2003. Rather than put in a review for Frank, I will end with this interview. She recorded bits of the album in London, though Winehouse also got to work in various studios in the U.S. That is quite rare for a new artist putting together their debut. Camden’s favourite daughter got that early taste of America. She spent some time at Platinum Sound Recording in New York:

“Dazed&Confused: How did you get discovered?

Amy Winehouse: When I first had any kind of interest, it was through my friend Tyler [James]. He was 19 and I went to school with him. He was talking to his A&R guy Nicky, and Nicky was saying ‘Oh, I heard some girl on the radio today singing Jazz, there’s something about Jazz’. Tyler said ‘Well, if you want someone who sings Jazz then my girl Amy, she’s the Jazz girl’ and that was it really. I just sent him out a little demo, which was a jazz demo, I was even writing songs at that point.

D&C: What was on that demo?

Amy Winehouse: The demo was two jazz standards but they were really cheesy, really straight backing tracks. I’m surprised he rang me. I mean, I sang them alright but they were really cheesy, really funny. It was 'Night & Day' and 'Fly Me To The Moon' or something.

D&C: Have you been singing jazz for a long time?

Amy Winehouse: Yeah, I’ve been singing jazz for maybe six years.

D&C: Because that’s what your voice is best suited for?

Amy Winehouse: It was my first love, well it wasn’t my first musical love but it was always there, it was always very present. I mean, Frank Sinatra, Dinah Washington, Sarah Vaughan. They were always there, in my house, what my parents would listen to.

D&C: Are they musicians?

Amy Winehouse: No, my mum is a pharmacist and my dad’s a cab driver, well, he will be in a couple of months, he’s doing the knowledge at the moment. I’m so proud of him; he’s been working so hard my dad. He’s messed up a couple of the appearances but he’s persevered, you know. He’s very impatient so for him to have done this and worked hard for it and then to have gone back and done things that he’s failed at, you know that’s a very admirable thing. He always had the jazz thing in the house, always, from when I was a baby and my mum liked folkier stuff like James Taylor and Carole King, and I got into them quite heavily.

D&C: So your parents had good music taste?

Amy Winehouse: Yeah and my dad was really into the Beatles, like really into the Beatles. And my dad just used to sing all the time, around the house. He still does wherever he goes, he’s wicked, and his wife’s like ‘Shut up, Mitchell!’. Everywhere he goes, everywhere – ‘Everyone knows you can sing, shut up!’ stuff like that. He is good though, but he never did anything with it but he just chose to be a double glazing sales person in London.

D&C: Where did you grow up?

Amy Winehouse: I grew up in North London, I’ve always lived in London. My dad’s from East London. My mum’s from Brooklyn but she moved to East London. This is cute actually. They lived on the same street when they were kids but they didn’t know each other. My mum knew my dad as the boy up the road who used to knick the bin lids and then they got married. So, when they were older they were like ‘I used to live on Commercial Street’ and my mum was like ‘So, did I!’ Very romantic.

D&C: So, they lived together, she went to Brooklyn and then came back?

Amy Winehouse: No my mum was born in Brooklyn but she came to England when she was really young, when she was two, really young. She’s not American at all with her manner and her speaking.

D&C: So, your parents being into jazz and folk didn’t make you want to rebel against that?

Amy Winehouse: Not really, at all, because while I had this music going on the parallel was at school I was doing very cheesy, musical theatre, very over the top. I knew I wanted to perform and the only thing I could think of to do, which was close to what I wanted to do, was I wanted to sing and I wanted to dance and I wanted to act, all at once. Musicals are the only thing you do with that kind of thing. I just realised it wasn’t for me, it took me a good two or three years of doing tap and doing ballet and singing “Where Is The Love?” and all that cheesy shit. It took me a good while to realise that I loved the songs in the musicals, the actual songs. But I preferred them when they were taken out of their context in the musical and messed around with by someone like the Thelonious Monk and Bud Powell, you know.

D&C: People that would take it somewhere else?

Amy Winehouse: Yeah, take it somewhere else and interpret it their way, you know? My idols are people that took songs and made them completely theirs. Which is why Dinah Washington is one of my favourite singers because she was doing the same songs everyone was doing, you know how people would just do all the same songs at the time because there was the same catalogue of songs going round at the time. And she would do something and after she would do it people would leave it because she’d of done it so good they would just be like ‘Shit, Dinah’s done that we better leave it now”. Like, she would just make it hers, like really make it hers.

D&C: So, were you at stage school or normal school?

Amy Winehouse: I was at stage school. I went to both because I kept getting kicked out of a few schools. I went to Sylvia Young’s but I was only there for about a year, a year and a half, because I got kicked out.

D&C: Why were you kicked out?

Amy Winehouse: It really wasn’t anything. Like, I had my nose pierced and they sent me home. It’s tragic. It’s really sad.

D&C: Did you study jazz?

Amy Winehouse: No, I’ve never studied it formally.

D&C: You seem to know quite a lot about the history of it, have you read books?

Amy Winehouse: No, I mean, No. I just listen to the actual music. You know what? You know those documentaries that came out? A guy called Ken Burns?

D&C: Yeah!

Amy Winehouse: Yeah, I’ve got them on video. What was that like 2 or 3 years ago? When that came out that cemented a lot of different things for me because them videos were so good. They weren’t only the history of jazz; it was jazz relevant to social history and you got to see how the different types of jazz evolved.

D&C: I remember the one about Ella Fitzgerald’s life as a homeless teenager on the streets.

Amy Winehouse: Yeah, there were a lot of people like that. Billie Holiday’s another one, she was a prostitute at like what? 12 or 13. She was only singing, like scatting to make money.

People always think all jazz musicians were from poverty-ridden backgrounds because of stuff like that. But you’ve got the other side, like there was some people who were so affluent like Miles Davis. His dad was a really prominent doctor where they lived and they had a fucking fat guesthouse or something where they lived, you know. And that was the thing about Miles, he always tried to be really street. That was his thing, he was always trying to look really street but he came from this really rich background or rich rural of that time, in the settings of the town.

D&C: It spans across all walks of life. Have you recorded in America?

Amy Winehouse: Yeah, we did the last three quarters of the album there. Yeah, some wicked songs. I’d done so much here, a year or maybe two and a half years of work here but it wasn’t until I went to America when it all came together. I realised I had to work, I had to go and travel to make it happen, you know. Yeah, it just really came together in this last year that I’ve been back and fourth out of America.

D&C: Where were you?

Amy Winehouse: I was in Miami with a guy called Salaam Remi. I’ve done half of the album with him. It’s wicked; he’s a really cool guy.

D&C: Does he share your interest in jazz?

Amy Winehouse: Yeah, he’s very knowledgeable about it. I know it sounds a bit wanky but I can’t even work with someone unless they know more about music than me. I have to learn from them or it’s pointless. I’m at a point where I just don’t want to do anything except take in as much as I can do. Salaam’s the kind of guy who just knows. He’ll play me a song that he’ll just know that I love, before I’ve heard it. He’s one of those guys who’s just a music man

D&C: Did you record at the Hit Factory?

Amy Winehouse: No it was at his own place, which is in Biscayne Bay in Miami.

D&C: Had you been out there before? Like when you were a kid with your Mum?

Amy Winehouse: Yeah, because my Mum was from Brooklyn we all went on family holidays to Florida. We were there all the time. I mean, it’s like any bunch of Jews go on holiday there. It’s like a Jewish holiday spot, isn’t it?

D&C: It’s gradually turning into the home of hip hop as well.

Amy Winehouse: Yeah. That was wicked at Salaam’s, like you’d come out of his studio and the icons would be right across the road and you can hear the heavy beats coming out of there all day.

D&C: I was in the studio there interviewing Pharrell Williams recently and then P Diddy walks in.

Amy Winehouse: Oh my god!

D&C: And then Missy Elliot was there too.

Amy Winehouse: Oh my god! I would have been tip toeing around like listening at all the doors. ‘Sorry, Hello Missy’.

D&C: So where did you record the rest of it?

Amy Winehouse: The rest of it was done, some with Salaam and some of it was done in New York with this guy called Commissioner Gordon (Williams), who did most of the Lauryn Hill album and I’ve been working with those same musicians that did the Lauryn Hill album. Not out of anything like me going ‘I have to work with the people that..’ you know it wasn’t like that. It just literally came together like that before anyone had even realised.

D&C: It must have been amazing.

Amy Winehouse: It was amazing! That vibe I was in New York that was the best studio I’ve ever worked in with the musicians there, because I’m a musician and I’m not someone who can just go in, hear a backing track and write a backing track. No way, I can’t do that. That’s the hardest thing for me to do as a songwriter is just to get a backing track and just write to it, I can’t do that. I have to have the guitarist who did the backing track there so he can go ‘So it’s kind of like that, it’s this change from that and you go wow’ you know, you need to have that there, you need to have the bass player there. As much of the live sound that you can possibly can in the studio and that’s the best vibe for me”.

I want to leave it there. Born in Southgate, North London, but someone who made Camden their home and spiritual bedrock, on 14th September, the world remembers Amy Winehouse on her fortieth birthday. An artist who inspired so many and made such a huge impact whilst she was with us, we will never see anyone like her again! Reading early interviews, seeing those great and candid photos and hearing that debut album music makes me realise…

HOW much she is truly missed.

FEATURE: The Digital Mixtape: Songs from Incredible Albums Celebrating Big Anniversaries in September

FEATURE:

 

 

The Digital Mixtape

Songs from Incredible Albums Celebrating Big Anniversaries in September

_________

I have noticed how there are…

a few great albums celebrating anniversaries this month. As this is being published on Sunday, 10th September, I am taking albums coming up for anniversaries. I have written a feature about some great albums celebrating anniversaries this month – including Outkast’s Speakerboxxx/The Love Below -, but there are others I won’t have time to do. For that reason, I am popping them in the playlist so that I can bring them all together (Spotify lists some of the albums as being released on1 st January, but ignore that. This is a default if they do not have an exact date). I may do it next month too as a bit of a runner. It is great isolating classic albums and ones coming up for big anniversaries, though there are others that I might miss out. Below is a playlist with two songs from a brilliant album celebrating a big anniversary (one that ends with a ‘0’ or ‘5’). You might know about some of these albums and the fact they have anniversaries coming out; some might be new to you in that respect. I hope you enjoy this playlist of songs from awesome albums that have big anniversaries coming up…

BEFORE the end of the month.

FEATURE: Spotlight: ZAND

FEATURE:

 

 

Spotlight

ZAND

_________

BEFORE I get to…

a few interviews concerning the brilliant ZAND (London-based Zander Sweeney), there is a bit of background on this innovative and must-hear artist. Who they have inspired by and what their style is. You may not have heard of ZAND. They are someone who needs to be on your radar. I am going to get to some recent interviews soon. ZAND released their incredible E.P., SEWERSTAR, on 7th September. It is clear that this is an artist like no other. One of the most important on the scene right now. I shall come to interviews with them in a minute. First, here is what you need to know about the amazing ZAND:

“STYLE.

I call it “ugly pop”. Gritty, genre bending pop music that is uncomfortable and messy and industrial and whatever I want it to be. I’ve had a lot of “I have no idea what genre this is” comments and that’s just how I like it. Perfect for weirdos, the underdogs, the misunderstood etc

BIO.

“Zand is just me (or if you wanna be fancy, my real name is Zander and my pronouns are they/them). I did my first gig in 2012 when I was a mere foetus on an old singer songwriter folky cringy project, but I feel like I only really started “performing” this summer whilst on tour with Bob Vylan & Witch Fever. I used to be so self-conscious of how to perform and what to do onstage and really overthink it, but now I feel like I’m really honing my craft and I am much more comfortable. I love it. It’s just like ringing a bell. ‘Put on a damn show, baby’, or whatever.”

One of the most exciting, formidable, and hotly tipped rising stars in alternative pop, Zand is a force to be reckoned with. Exploding onto the scene with their own self coined genre/boundary bending “ugly pop” sound in 2018, they have demonstrated their prowess as a triple threat; singer, songwriter and producer. Since their debut EP “Ugly Pop” released in November 2020, the 4 track EP has racked up over 1 million streams on Spotify, gaining attention from the likes of DIY Magazine, Wonderland Magazine, Attitude Magazine, Alt Press and more. Their new single and first release of the year “Religion” just dropped in August; a metal infused, holy earworm produced by both ZAND and EDM producer Shurk, released in partnership with Jagermeister Musik. ZAND coined the term ‘ugly pop’ to describe not just their gritty sound, but with ‘ugly’ acting as a double entendre; touching on topics and telling a story in such a manner that could be considered controversial in today’s male-dominated, cis heteronormative society.

Q & A.

INFLUENCES?

I got a long list of those. I keep remembering different artists that influenced me as a teen or a child or a young adult or a few years ago or now. But a few off the top of my head: Imogen Heap, Slipknot, Tommy Cash, My Chemical Romance, Hans Zimmer, Fightstar, Hammock, Gorillaz, Rob Zombie, SOPHIE.

SHARE WITH US AN INTERESTING ANECDOTE ABOUT ONE OF YOUR SONGS.

I just had to google what “anecdote” means before answering this, and it says, “a short amusing or interesting story about a real incident or person”. I don’t have an amusing story behind this song to tell you, but the song itself is batsh*t enough on its own without needing one. So I’m just gonna tell you about it anyway. My new single “Religion” is a fun one to talk about, mainly because it sounds completely insane on purpose, production wise. Is it a pop track? Is it metal? Is that latin inspired percussion I can hear? “Yes” is the answer to all of those questions. “But Zand… are those demonic shrieks at the end… you?” I hear you cry. Yes, baby, yes, it is. “Why?” Because it rips, it works with the song’s narrative, and I wanted to show off. Extreme vocals are an artform in itself and I’m surprised I haven’t brought them to my music sooner considering I’m a little metal head. Also, no one has asked me these questions at all, I am just being dramatic. Lastly but certainly not least, if you listen to the lyrics, you’ll be able to hear that it’s a gay as hell track I wrote about being infatuated with an angel. I like telling stories in songs, so let that be the anecdote for this one. *ba dum tss*

IF YOU WERE TO BE AN ANIMAL, WHICH WOULD IT BE?

A dragon, for sure. Don’t hit me with the “they’re a mythical creature” lark, they’ve definitely at least been real before, and now the closest thing we have is alligators and stuff like that. One of my special interests since I was a kid has always dragons, I wrote a book about turning into a dragon, was completely obsessed with Dragon Heart and literally any media that had dragons in them, I’ve still got my Dragonology book, and now green hair horns and dragon wings are part of my aesthetic/persona. Kind of an unavoidable serve to be honest.

YOU ARE SENT TO MARS, NO CHECK-IN BAGGAGE, AND YOU CAN TAKE ONE RECORD – WHICH ONE?

Either Y€S by Tommy Cash or Move Along by All American Rejects. Both have pulled me out of depressive episodes many times, the former due to euphoria and the latter nostalgia. I’ll probably think of 5 more by the time I’ve written this.

YOUR FAVOURITE MUSIC VENUE IN THE U.K.?

I don’t have a favourite venue, but I do have a favourite one I played on tour recently. Really enjoyed the 100 Club in London, had a big, long stage I got to walk up and down, very spacey. Did not trip over. Jumped around a lot. I’ve never played the Deaf Institute in Manchester, but I’ve seen a few gigs there (Neon Trees was my last one in 2012) and I loved how it felt like you were in someone’s living room with the bird upholstery and wallpapers, whatever you call it. Very nice.

WE ARE PROUDLY SUBCULTURE-INSPIRED. HOW ABOUT YOU?

Come on. You can take one look at me and see that I’m a slimy little mosher. Always have been”.

I am keen to get to some interviews regarding them. ALT PRESS chatted to ZAND earlier in the year to see what they had to say. Such a compelling and original artist, I am a bit annoyed I have only just discovered them! I am not compelled to look ahead to see where ZAND heads next:

“A few years ago, ZAND would have worried about silly lyrics causing offense and would over-explain every aspect of the project to avoid that. Now, they’re much less bothered. “Typically the only people who don’t get it are straight, white men who don’t get much of anything,” they smirk. “If you want to know what I mean, listen to the music.” 

SEWERSTAR provides another layer of freedom to ZAND’s world. When they started making “ugly pop,” they stuck to a strict set of rules that included ensuring all the songs dealt with oppressive subjects and offered some sort of education, as well as making jagged industrial pop that still felt palatable for a mainstream audience. “Now, I just do whatever I want,” ZAND says of the evolution, with the new project mashing up EDM and nü metal alongside soaring pop hooks. 

“I’m getting older, and I’ve realized that shit is just not that serious all the time. Life’s too short. Is there actually any point in having hope, or do we have to literally swim in the shit and get on with it while the world's burning?” they ask. “Either way, we might as well have a party.” SEWERSTAR will no doubt incite debaucherous, escapist chaos. ”I wanted to encourage people to just be a little silly,” they continue. “Create your art the way you want.”

After all, ZAND had their first viral moment as a 19-year-old with an acoustic reworking of a Bring Me The Horizon classic and was swiftly swept up in the music industry. “There were a lot of men telling me what to do, and I believed them because I thought they had my best interests at heart,” they say before a heavy roll of the eyes. “I went into this not knowing what I wanted to do. I just liked writing songs and playing guitar.” ZAND was also struggling with their gender identity, but coming out as nonbinary helped everything slowly slot into place.

 “Coming into my own and looking how I’ve always wanted to look has helped a lot,” they explain. It also gave their music a purpose. “Every cunt and his dad can listen to Ed Sheeran, but queer people, nonbinary people, trans people, they don’t have the same representation. They need that home as well.” 

ZAND’s hoping to really start building that sense of community with their upcoming U.S. headline tour. “I want to create a space where people can come and be themselves,” they explain, rolling out a strict “no dickhead” policy. “People can expect chaos, slutty dancers, and me laughing at my own jokes, hoping you laugh, too.”

Following a relentless string of anti-trans bills and continued attacks on body autonomy, ZAND thinks touring North America is “really important” right now. “Even if it’s a small bubble of people that you’re speaking to, providing a space where they can get away from all the horrors of the outside world is vital,” they say.

ZAND is regularly told just how empowering their music is. “You don’t hear many songs about the destigmatization of sex workers or telling nonbinary kids that how they identify is valid,” ZAND says. “But I’m just making the songs that I wish I had when I was younger. I know my music is niche, and it definitely isn’t for everyone, but it is for some people, and that’s important,” they explain. “Maybe it’ll help them feel less alone because this whole project has definitely given me a sense of community and purpose. People see me being fearlessly myself, and hopefully they can relate to that,” they add”.

The mighty Kerrang! interviewed ZAND back in April. They discussed music and art that is for the outsider. Those people who feel like they do not belong. It is clear that ZAND’s music will resonate with and empower so many power from different walks of life:

“ZAND has been called ugly their entire life. Their first experience of bullying came at the age of four, when their parents moved them and their brother from England to rural Ireland. ZAND in particular was targeted for their “nerdy” interests (Pokémon and Digimon) and being sensitive towards animals. “I remember my bully stamping on a frog I’d found in the playground – the same with a little baby bird that had fallen out of its nest that I was trying to look after,” the singer remembers.

It was when they returned back to Blackpool aged 12, and was parachuted into secondary school at Year 8, that they saw how ugly the world – and kids in particular – can be.

“That was a different type of brutal,” they recall. “Kids [were] more mercilessly mean than they were over in Ireland and I would get picked on for my appearance a lot, called ugly or a nerd... I did not feel as strong, or like I could push back, like I did when I was younger. It felt different [in the UK]. More big and scary. I struggled with self-harm and depression from an early age and would get picked on for that, too... ‘Fucking emo blah blah,' it’s all a blur, to be honest.”

PHOTO CREDIT: Megan Winstone

Things got all the more confusing when ZAND sang Christina Aguilera’s Beautiful in the school talent show in Year 10, something they describe as a “weird and hilarious blossoming high school movie" moment.

“Some popular guy from the year above started texting me like, “Wow you looked so amazing up there! You are so talented!” they say. “It was a really jarring juxtaposition, going from feeling grotesque and being made to feel beneath everyone all my school life, to people suddenly finding me attractive and ‘worthy’ because they saw my talent.”

Struggling with their gender identity at the time, ZAND saw how people reacted to them presenting themselves as more feminine and felt pressure to be more like that in order to be accepted.

“It wasn’t until my late-teens and even early 20s, [when] the penny finally dropped and I had the vocabulary to realise I was trans,” they explain.

They describe the moment they shaved their head – the look you see ZAND sport today – as liberating. “[I was] finally able to let go of all the prejudice and judgement I’d held towards myself projected by other people,” says the singer.

The bullying didn’t stop when high school ended, unfortunately, and when ZAND came out as trans in 2015 they were subject to transphobic abuse. “It was harrowing,” they say today. “A really scary time that definitely has had a lasting impact on me, but all of this just gave – and still gives – me the push to be my authentic self. I feel and look my most powerful as a baldie.”

PHOTO CREDIT: Megan Winstone

And that’s how ‘ugly pop’ came to be – the artist reclaiming the words that have been used against them for so many years in a positive light (‘ugly pop’ also represents the dark subject matter that ZAND sings about, which some might consider ‘ugly’).

“I like looking different, I like expressing myself and feeling good about myself,” they explain. “Even when people fucking harass me, I'm like, ‘Well you’re gonna remember what I look like but I’m gonna forget your face in like five seconds...’”

Harassment due to their appearance is a regular occurrence for ZAND and they are often subjected to having their photo taken, or being filmed without permission, while just going about their day.

“I get filmed a lot – and it’s usually by men,” they explain. “Just a few weeks ago I was stood at the train station with my hood up, minding my business and someone was sending Snapchats of me. I’m just existing and people laugh at me and use me as a spectacle... I will never understand that. Why do you treat people who just look different to you like they’re shit on your shoe? Because they don’t fit your idea of beauty standards? It's just fucking weird to me”.

PHOTO CREDIT: Megan Winstone

While still incredibly independent – self-releasing and self-producing their music – getting a proper team around them has helped. Agent Christina, whom ZAND describes as “my rock and accidental therapist” came on board three years ago, and it was the recruitment of manager Rosie that saw ZAND get organised. But even with extra hands on deck, the singer says it’s hard to shake the feeling that they are “just trying to get through every day... If I feel I’ve not done enough on a song or whatever, I feel very guilty.”

So what would be enough? How would ZAND know when that full potential has dutifully been sought?

“It is woefully ironic trying to think about what my full potential looks like, because it is constantly changing,” they say. “And maybe I will never reach it because capitalism fucks us so hard and no matter what achievements and milestones we reach, it never seems to be enough. We are always constantly having to prove ourselves to ourselves and other people. It’s hard not to get caught up in the rat race of comparing yourself constantly...”

“I used to think my full potential was taking over the world and selling out tours. Now I'm like, is my full potential just having one person hear my music and not feel alone? Is my full potential notoriety? Or being able to pay my family’s bills comfortably? I don’t know...” they ponder. “What I would like to do, though, is release what I feel is enough of my music to the world before I die. There’s a lot more I still want to do as an artist”.

Moving forward a bit, in July, DORK were keen to highlight ZAND. They talked about their (as-then) upcoming SEWERSTAR E.P. It is definitely one of the most impressive and impactful of the year. It is very clear that there is a special place in the industry for ZAND. They are inspiring so many people already – and this will grow larger as their music career goes to the next level:

“Other people are a mystery to ZAND. From how they react to their art to how they respond to their look, ZAND’s under the distinct impression that “different things inspire different people depending on like their upbringings and how they see the world.” It’s how they get by in a world that tries to fit things in neat little boxes. “If something might come along that is unorthodox, or that they don’t understand – whether that’s music, whether that’s how someone looks, whether that’s anything to do with that sort of shit – they either turn their nose or they relate to it in some way, even though it might not have anything to do with them.”

These experiences are reflected in ZAND’s music. They mention that ‘Ugly Pop’ was written “from a place of writing about unhealed trauma and shit that I was really angry about.” And while this is still the case for a lot of what they’re creating, when it comes to ‘Sewerstar’ and its offerings, it’s about trying to be a little less serious with it. “I just want to have a little fun with it and write about stupid shit like wanking or ‘HA, this is really funny, I’m going to say something really funny in this’ and just seeing what comes out.”

PHOTO CREDIT: Frances Beach

While ZAND’s first artistic pursuits were a far cry from who they are today (“I was a baby, it was me singing a song on my guitar doing twee… but I was still a gobshite”), the writing has come to be just as important as the vision. “The music, and how I do it, leads in terms of personality and whatever the fuck else. A lot of things in my life have fuelled me to want to protect myself that way.”

ZAND’s transformation into the artist before us today was a process. “We’re all constantly posturing, right? Depending on the song, we’re all putting a version of ourselves out there that we might not necessarily be. And that’s the kind of thing that I find interesting to play with when it’s like playing different characters and songs. You’re performing a personality; you’re performing this viewpoint.”

These building blocks of bravado are important, but more prescient is the fact that whomever ZAND is on a deeper level is, rightfully so, to remain a mystery. “There’s always going to be a story that people don’t know,” they say. “Even if someone writes an autobiography, you’re still not going to know every single thing about someone’s life and what’s led them to be the way they are.” 

Mentioning that the confidence and bravery they present is a big reason fans have latched onto them, they’re not always what people expect. “I am like a big softy, sensitive person,” they laugh. “Like I literally cry about everything, but people will often be like, ‘Oh my God, yes, you’re badass. Like you just don’t give a fuck; you’re so confident”.

I want to finish with a recent NME spotlight. Actually, they caught up with ZAND. They discussed collaboration with Jeremy Corbyn, their Queer community, and what comes next for them. There are some October gigs coming up, so do make sure you catch ZAND if you can:

“Before heading to Reading & Leeds, ZAND’s previous gig was in Sheffield with former Labour leader Jeremy Corbyn – in a bid to “to save The Leadmill, and bring awareness to music venues and landlords fucking them over”.

Describing their time with Corbyn, ZAND said: “He’s a G. He was a lot funnier than I expected him to be. When that came about, I was in my dressing room and they were like, ‘Oh, Jeremy wants to come and say hi. He comes through and he’s like, ‘Can I touch your hair?’ and I was like, ‘Yeah…’ We were taking hip-hop duo photos together. He’s cool and he’s very passionate about what he does, so it was really an honour to collaborate with one of the last politicians in the country who has a beating heart.”

ZAND continued: “It was really fucking random how it came together. His Peace & Justice Project DM’ed me on Instagram, just reaching out in solidarity and said they wanted to get involved in something.

“I didn’t have ‘ZAND and Jeremy Corbyn collaboration on my bingo card for 2023’, but everything is happening this year so… wows!”

Another recent career highlight came when ZAND supported Peaches on tour – an experience they describe as “insane”.

“When I got the email about that, I was literally screamed so loud in my room,” said ZAND. ” The night we flew out to the first date in Amsterdam, she just came out to my room and was like, ‘Hello!’ and I was like, ‘Mother!’

“Her entire show is just insane as well. Everything is just so theatrical. She literally brings out a giant inflatable penis and shoots shit out of it. She’s crazy, and the definition of a real artist.”

Next month sees the release of ZAND’s new ‘SEWERSTAR’ EP, taking their concept of “ugly pop” into ambitious new territory.

DOES not pass you by.

___________

Follow ZAND

 Instagram:

https://www.instagram.com/ihatezand/

TikTok:

https://www.tiktok.com/@ihatezand

Twitter:

https://twitter.com/ihatezand

Spotify:

https://open.spotify.com/artist/0zCrrgklotTrkkJDNUAury

YouTube:

https://www.youtube.com/channel/UCzMVxLolIX20YyKUo-zd0iw

FEATURE: A New Wave: Kate Bush’s Hounds of Love at Thirty-Eight: Inside Its Second Side Masterpiece

FEATURE:

 

 

A New Wave

IN THIS PHOTO: Kate Bush photographed for The Ninth Wave shoot (the second side of 1985’s Hounds of Love)/PHOTO CREDIT: John Carder Bush

Kate Bush’s Hounds of Love at Thirty-Eight: Inside Its Second Side Masterpiece

_________

A Kate Bush masterpiece….

that turns thirty-eight on 16th September, I wanted to explore the second side of Hounds of Love. I have written about The Ninth Wave before. It is Bush’s first conceptual suite; one where a heroine is adrift at sea and has to stay alive, hoping for rescue. Through the songs, there are different moods and emotions portrayed and introduced. Slipping in and out of sleep and a delirious state, the suite ends with the woman being rescued. I have explored how there is mystery and twists to the tale. The Ninth Wave ends with what seems like a rescue. Through the new morning fog, there seems to be this hope and lifeline. Bush has said in interviews how the heroine was rescued. It was brought to life for the first time for 2014’s residency, Before the Dawn. There, Bush is winched from the water by helicopter., This resolution and satisfying conclusion. I have said before how the different sounds and characters on The Ninth Wave remind me of her previous album, 1982’s The Dreaming. How that layered and diverse album almost drove her mad. An exhaustion in pursuit of something distinct and ensuring. Maybe referencing how she felt adrift, alone and anxious at times – maybe that rescue on The Ninth Wave was when Bush started Hounds of Love and found safe passage ands land as it were. Also, we are told that the ending for The Ninth Wave was happy. In fact, before I go on, this exert of an interview sourced by the Kate Bush Encyclopedia sees Bush discuss the concept behind The Ninth Wave:

“The Ninth Wave was a film, that's how I thought of it. It's the idea of this person being in the water, how they've got there, we don't know. But the idea is that they've been on a ship and they've been washed over the side so they're alone in this water. And I find that horrific imagery, the thought of being completely alone in all this water. And they've got a life jacket with a little light so that if anyone should be traveling at night they'll see the light and know they're there. And they're absolutely terrified, and they're completely alone at the mercy of their imagination, which again I personally find such a terrifying thing, the power of ones own imagination being let loose on something like that. And the idea that they've got it in their head that they mustn't fall asleep, because if you fall asleep when you're in the water, I've heard that you roll over and so you drown, so they're trying to keep themselves awake. (Richard Skinner, 'Classic Albums interview: Hounds Of Love'. BBC Radio 1, 26 January 1992)”.

I do like that idea of someone being in the dark and at the mercy of their fears and imagination. Not know what is underneath them in the water. No way of avoiding the worst perils and possibilities. I have a feeling that Bush’s heroine died during The Ninth Wave - and the last few songs are her watching from above. It is a bleak perspective, yet I don’t believe that things ended with a rescue. What I wanted to discuss for this feature on The Ninth Wave is the filmic possibilities. Bush always intended it to be filmed (as she discusses in this interview). I have touched on this before. I titled this piece ‘A New Wave’, both to signify a new wave of interest in the conceptual suite. It also means that, if The Ninth Wave were made into a short film, it would share aspects with New Wave cinema. In a couple of other Hounds of Love features, I am going to explore some of the songs from The Ninth Wave. I might also combine some interviews from 1985: one of Kate Bush’s busiest and most successful years. Now, because Bush always saw Hounds of Love’s second side as a film, I wonder whether it will be filmed. Rather than repeat what I have said before, I also want to commend a remarkable piece of work. In  terms of the possibilities of The Ninth Wave, I still feel there is a short film in it. Bush performed it on stage back in 2014, yet most of her fans did not get a  chance to see it. I am not sure whether anything quite like this has been brought to the screen. With an actress cast in the role of the heroine, there could be different filming styles for each song.

What is not known – and what was explored a bit in the stage mounting of it – was how the woman got into the water. I assume that she was  washed off of a boat, but did she jump or was there an accident? I am fascinated how The Ninth Wave started life, as I assume Bush had in mind how the woman got into the water. Bush reveals the origins of the person – she didn’t explicitly say whether it is a woman to be fair -, though the Hounds of Love cycle sort of leaves questions hanging. On stage, a helicopter sees her and lifts her out of the water. It would be remarkable to see this thirty-minute short film where we start with the woman being on a boat; the hours leading to her being washed over. Maybe there was a chase beforehand. Perhaps the woman was involved in a relationship and she was pushed overboard. Maybe she was pregnant and that could be explored, I like the idea of casting someone who looks a bit like Kate Bush in 1985. Someone who maybe gets to speak and has a great opportunity to give new angles to The Ninth Wave. Perhaps there are tiny breaks between songs – there are seven in total on The Ninth Wave –, where family are waiting, or there are more layers to the mystery. I think the biggest frustration is that we do not find out who the person was, where they were stranded, and how things worked out when they were rescued.

Of course, as I have said I feel like the heroine died at sea, the filmed version would be in keeping with Kate Bush’s original intention: that the person was rescued and was okay in the end. There are fan theories as to what the actual outcome was in The Ninth Wave. If Bush felt in 1985 it was more positive, Before the Dawn maybe reversed that notion. I would like to know where she was taken to and whether there is another twist in the tale. For Before the Dawn, I think Bush suggested the filmed sections - where she is dragged under the water and drowns - were real, and the stages parts - the rescue and happier ending - was dreamt. It seems to be that contrast in outcomes and leaving it to the listener to decide what happened - though I still like to cling onto hope in all cases.The listeners is invested in this struggle as this person fights against the sea, what lurks underneath, the cold (and trying to stay alive). I guess the experience lasts through the night, and she is rescued the next morning – though I don’t think there is a specific timeline or set duration. It would be a treat if Kate Bush was behind it and gave her blessing. In lieu of any documentary or new album, this is a chance to combine what we hear on Hounds of Love with what was on the stage. It was fleshed out through Before the Dawn. This idea of maybe a family woman who got into this tragedy and then is set free. As Before the Dawn’s filmed set will never see the light of day, it is a tragedy that it will be left in the minds of those who say it and the imaginations of those who did not. I want to finish by tipping my cap to an extraordinary musical suite. Conceptual cycles are quite risky. They can go wrong or can be seen as quite pretentious. It is not a new thing in Pop and Rock. Artists usually incorporate them as part of the album, or they may dedicate an entire album to a concept. In Kate Bush’s case, it was a chance to balance out the singles and traditional structure of the first sider with a more experimental and cinematic second side.

IN THIS PHOTO: Saoirse Ronan would be a perfect fit to play the heroine in a filmic adaptation of The Ninth Wave/PHOTO CREDIT: British Vogue

I have suggested an actress playing that lead role would have to look like Kate Bush. I don’t think she mentioned she was the one in the suite – just a fictional person who has to battle against the odds. Someone like Saoirse Ronan would be perfect in the role. Maybe an Irish character (as Ronan is American-Irish; Bush is half-Irish herself), that would pair with the Irish sounds and sensations through Jig of Life. There are websites where there are thoughts and threads relating to The Ninth Wave. There was a literary adaption of the suite. I will finish with an article that goes into depth when it comes to this incredible flow of songs. A brilliantly deep feature that explores theories and gets to the root of the songs and the narrative, it definitely does give extra weight and substance to a potential screen telling of The Ninth Wave! I want to pick it up from (when the article) discusses the haunting Watching You Without Me:

“Kate’s decision to sing parts of this song, as I mentioned, through blue, numbed, barely-moving lips might be a simple one, but the chilling result is far more effective than describing the current state of our narrator. It reflects one of the first tenets of good art: show, don’t tell. Indeed, the entire simple structure of this song and the basic way Kate presents it belies the immeasurable profundity at its core. The essence of this song is really about life and death. And not in an abstract way, in a “noble” way, but in a day-to-day way. I often think of the people who will wake up this morning, and will die later in car crashes, plane crashes, sudden heart attacks… the method does not matter. What does matter is that no one wakes up thinking, “Well, I should have an extra yogurt this morning because I am going to die in an hour, so I might as well enjoy it.” And I think of the connections that will be and are severed with such tragic occurrences. And I ask you to think about them now too. And now think about the inevitability of this happening to you. And you suddenly find yourself standing in the living room of… whose, your house, your parents’ house? Who are you saying “I didn’t know I was going to die today, and I didn’t get a chance to say goodbye to you, so…goodbye. And I love you.” Who are you saying this to? Who are you saying “I love you” to? And who is it that you will never…ever see again? THAT is what this song is about. It’s about our narrator. And it’s about you too.

And of course, by implication, the song is ultimately about the one left standing, waiting. Our loved ones are the ones who will carry on without us, in pain at our loss, at the empty space we left behind. Our narrator is somewhat resigned to her fate at this point, knowing she is on her way out of this life. The thing that is left at the end is love.

The tone of this song shifts the direction of the entire suite. We have left behind frantic drumming, anxious sounds, tense narratives. We do however get a Morse Code S.O.S. mixed in with some more ocean/seagoing sounds. A mysterious, otherworldly melody smoothed with a strange, restrained joy, and emanating from a place of compassion, is tucked inside rolling waves and seagulls. Apparently only Kate knows about this enigmatic section—it starts with her vocal line being played backward, but portions are clearly Kate singing without any effects. And we are presented once more with the choppy vocals of her begging to be listened to, to be heard, but listen carefully as the gaps become longer, the words become more distorted.

The bracing, dazzling “Jig of Life” pushes its way into our consciousness, vital, full of primal energy, determined, unyielding. Our narrator is now face to face with a very surprising special guest:

Hello, old lady.

I know your face well.

I know it well.

She says,

"Ooh-na-na-na-na-na-na-na-na!

I'll be sitting in your mirror.

Now is the place where the crossroads meet.

Will you look into the future?

Never, never say goodbye

To my part of your life.

No, no, no, no, no!

 IN THIS PHOTO: Kate Bush photographed for The Ninth Wave’s shoot (for 1985’s Hounds of Love)/PHOTO CREDIT: John Carder Bush

Oh, oh, oh,

Let me live!”

She said,

"C'mon and let me live, girl!"

She said,

"C'mon and let me live, girl!"

("C'mon and let me live!")

"This moment in time,"

(she said…)

“It doesn't belong to you,"

(she said…)

“It belongs to me,

And to your little boy and to your little girl,

And the one hand clapping:

Where on your palm is my little line,

When you're written in mine

As an old memory?

Ooh, na-na-na-na-na-na-na-na-na-na-na-na-

Never, never say goodbye

To my part of your life.

Oh no, no, no, no, no!

Never, never, never!

Never, never let me go!"

She said,

"C'mon and let me live, girl!'

("C'mon and let me live!")

She said,

"C'mon and let me live, girl!"

("C'mon and let me live!")

I put this moment.............here.

I put this moment.........................here.

I put this moment--

"Over here!

Over here!”

“Can't you see where memories are kept bright?

Tripping on the water like a laughing girl.

Time in her eyes is spawning past life,

One with the ocean and the woman unfurled,

Holding all the love that waits for you here.

Catch us now for I am your future.

A kiss on the wind and we'll make the land.

Come over here to where When lingers,

Waiting in this empty world,

Waiting for Then, when the lifespray cools.

For Now does ride in on the curl of the wave,

And you will dance with me in the sunlit pools.

We are of the going water and the gone.

We are of water in the holy land of water

And all that's to come runs in

With the thrust on the strand."

 IN THIS PHOTO: Kate Bush during the shooting of the video for And Dream of Sheep, a song that is part of The Ninth Wave/PHOTO CREDIT: Trevor Leighton/The New York Times

Imagine if your future self were to come and tell you to hang on, not to give up or let go because what you do now matters not just to you, but to that future self as well. Kate has always loved to play with chronology in her songs, and this is a great example. Past, present and future all meet at this one fateful spot. Physics tells us that all time is simultaneous. If we could step out of the time stream and see it all at once, it might look like this. Our narrator’s future self implores her to let her live—what a powerful idea to contemplate, that our death means the deaths of all of our possible future selves. Wow. The old woman wants to live, and lets our narrator know that the future doesn’t belong to her now, it belongs to her future self… and to her little boy and little girl, even more powerful incentives. This implies that the future has already happened… that, as mentioned, all time is simultaneous. And that her future self has already lived a complete life.

This dance of life is relentless, serious, demanding: Kate chose a jig for many reasons. Not only does it represent her Irish heritage on a personal level, but it is an ancient, traditional sound that ties our narrator’s predicament to something else, a sense of history and roots, a sense of belonging to a place, a people…belonging here. It serves as a wake-up call (like the introduction to “Waking The Witch”) for our narrator: DON’T GO. You are a link in the chain that stretches from the past to now to the future.

I have always been intrigued and very moved by the brief sequence where our narrator says, “I put this moment here.” She is curiously detached, as though now she is freed from the time stream and a physical body, she is able to look dispassionately at her life and take stock of an existence full of moments. All of our lives are made up of moments and our narrator moves them around like building blocks. She puts a moment here, another here—but then she is interrupted by a command to put them all “Over here,” the exact same voice and phrase we heard in “Waking The Witch” when her hallucination was trying to turn her attention to the “little light.” That original conversation sounds like it was about star-gazing, but the stars stand in for life, for her own spirit. We will come across this idea again in the next song. But for now, it turns out that “over here” is composed of a gorgeous, inspired poem written and performed with urgency by Kate’s brother John Carder Bush, a poem that stands outside of time and uses water imagery to play with the cosmic idea of the simultaneity of time. And we hear the source of the spiritual observation from “Waking The Witch,” “We are of the going water and the gone. We are of water in the holy land of water.” In other words, we are made up of our surroundings. We are not only connected to the universe, we are the universe.

Abruptly, this driving force ends as we hear another set of sound effects, audio cues that help us—and our narrator—navigate the story.

"Columbia now nine times the speed of sound."

"Roger that, Dan, I've got a solid TACAN locked on, uh, TACAN twenty-three."

"The, uh, tracking data, map data and pre-planned trajectory are all one line on the block."

These authentic samples of communication between NASA and astronaut Dan Brandenstein on the space shuttle Columbia place us in orbit around our planet. Kate has said of “Hello Earth,” “…this is the point where she's so weak that she relives the experience of the storm that took her in the water, almost from a view looking down on the earth up in the heavens, watching the storm start to form - the storm that eventually took her and that has put her in this situation.” Our narrator is having another out-of-body experience but this time it’s not nearby, on terra firma, but literally out of this world, and it seems to be final. She is high up above our earth, looking down, and there is a shocking sense associated with that as so few human beings have ever left our world to look back on it. There is a disconnection from what is common, known. I am reminded of The Overview Effect, the very real psychological and cognitive shift experienced by astronauts and cosmonauts…anyone who has left the planet and gone a sufficient distance to look back and perceive our planet not as a familiar home, but as a tiny, fragile ball, barely protected by a thin membrane of atmosphere. This awed feeling is described as one of ultimate compassion and understanding of the imperative to preserve and safeguard the planet.

Hello, Earth.

(Hello, Earth)

Hello, Earth.

(Hello, Earth)

With just one hand held up high

I can blot you out, out of sight.

Peek-a-boo, Peek-a-boo, little Earth.

With just my heart and my mind

I can be driving, driving home,

And you asleep on the seat.

I get out of my car,

Step into the night

And look up at the sky.

And there's something bright,

Travelling fast.

Just look at it go!

Just look at it go!

[men's choral passage in Georgian]

Hello, Earth.

Hello, Earth.

Watching storms

Start to form

Over America.

Can't do anything.

Just watch them swing with the wind

Out to sea.

All you sailors,

("Get out of the waves! Get out of the water!")

All life-savers,

("Get out of the waves! Get out of the water!")

All you cruisers,

("Get out of the waves! Get out of the water!")

All you fishermen,

Head for home.

Go to sleep, little Earth.

I was there at the birth,

Out of the cloudburst,

The head of the tempest.

Murderer!

Murderer of calm.

Why did I go?

Why did I go?

[men's choral passage in Georgian]

Tiefer, tiefer.

Irgendwo in der Tiefer

Gibt es ein licht.

Go to sleep little Earth.

After the NASA samples, we join our narrator floating in space like the Star Child in “2001: A Space Odyssey,” of the earth, but no longer attached to it, in fact freed from it. The tether has been cut. She is detached from her life and its meaning: there is an innocent, bemused approach as she plays a little game. She is so far from home, she can hold up one hand and block the planet from her field of vision…the earth is a toy. And we shift place, time, and point of view (as Kate so often does in her music) to our narrator driving home in a car at night, looking up at the sky, her loved one asleep on the seat beside her (a sweet, gentle, highly cinematic image, and all the more moving when we understand where our narrator currently is and the loss ahead), when she sees something bright streak across the sky. As she watches it shoot through the stars, she sings, amazed, “Just look at it go!” And what is “it?” Shooting star? Satellite? Space shuttle? A “little light?” If all time is simultaneous, has she glimpsed her own soul shooting past the planet? It is her own little light, a mind-boggling and heartbreaking idea…the cry in her voice when she sings this line indicates that she understands the meaning of this object, and its finality.

At this point, something very unexpected happens. An ethereal, arresting male choir sing a passage based on a traditional Georgian folk song from the Kakhetian region called “Tsintskaro.” It is a shocking transition, one that makes us hold our breath so as not to disturb this sudden, delicate, transcendent moment. Kate on the men’s chorus: “They really are meant to symbolize the great sense of loss, of weakness, at reaching a point where you can accept, at last, that everything can change.”

IN THIS PHOTO: Matt Hardy/Pexels

Our narrator, in full Overview Effect at this point, watches storms form and move to threaten the lives she sees below. She cries out to them in vain, all of them, the sailors, life-savers, cruisers, fishermen, anyone on or near the sea, to protect themselves. We hear in this section a few of the Irish instruments, bringing in echoes of meaning from the previous song “Jig of Life.” Here I am reminded of the idea of the Asian goddess Kuan-Yin, or the Buddhist idea of a Bodhisattva, a human who has attained ultimate awareness (Buddhahood) but motivated by compassion, refuses to leave this plane of reality for the benefit of all sentient beings. Our narrator, moved by the end of her own life, is now able to perceive the ephemeral nature of all creation. Everyone can be exposed to danger, everyone can suffer, everyone can—and will—die. This truth is universal. But she is unable to prevent or stop this truth. No one can.

She then sings a passage that is full of several meanings. She says she was there at the birth, out of the cloudburst, the head of the tempest. This could be the storm that took her, or it could be, from her newly widened perspective of awareness, the start of life itself, the start of the universe. We were all there, we are all made of the matter from a singularity… we are all star dust. The murderer of calm is this physical reality itself. All that is born must die. Entropy exists. She understands this and cries out, “J’accuse.” Hence the ultimate compassion for this tiny little blue ball.

The piece ends with whale song, sounds of radar, and a very mysterious, arcane passage spoken in German which, when translated into English, means “Deeper, deeper, somewhere in the deep there is a light.” In German, the word “tiefe” can also mean “profound,” and I am reminded of the Latin phrase at the beginning of the Christian Psalm 130 “De profundis clamavi ad te:” “out of the depths I cry out to you.” In the depths of sorrow, in the endless well of suffereing, there is a light. Compassion is the light.

And indeed, somewhere in the dark, there is a light. Our narrator has spent the night in open waters, battling for her life, and almost losing. But at dawn (first light), she is rescued. Perhaps someone saw, in the blue haze of early dawn, her “little light.” I always felt the vagueness of the lyrics to “The Morning Fog” could indicate that our narrator died and is reborn, reincarnated. But Kate herself has said that her narrative at this point and her intention with this song was that her heroine is rescued. Yet the tired but optimistic sound and simple, unadorned joy of this song gives us a sense of much more than a rescue. She has endured a life-changing event. She was born, died, and has been reborn to this world, to the people around her, those she loves. She is falling like a stone, as she says, from the spirit world back to the physical world and brings with her the ultimate compassion that has become a part of her psyche. She sees existence itself differently now. And we see it differently too, from sharing this harrowing journey with her.

The light

Begin to bleed,

Begin to breathe,

Begin to speak.

D'you know what?

I love you better now.

I am falling

Like a stone,

Like a storm,

Being born again

Into the sweet morning fog.

D'you know what?

I love you better now.

I'm falling,

And I'd love to hold you now.

I'll kiss the ground.

I'll tell my mother,

I'll tell my father,

I'll tell my loved one,

I'll tell my brothers

How much I love them”

From books, deep articles, Kate Bush’s own words and fan theories, a lot of time and effort has been expended discussing The Ninth Wave! It is the masterful and mesmerising suite on Hounds of Love’s second side. As the album is thirty-eight on 16th September, I wanted to go back to The Ninth Wave and discuss how it could be made into a short film. Each song has been explored by someone, so there is a script in there! It would be a remarkable thing for sure! As much as anything, it gives a chance for those (millions) who were not at one of the twenty-two dates in 2014 where Bush performed in Hammersmith. There, we mighty have seen Bush playing out a dreamt scenario where she was rescued, but the reality was darker. A short film could maybe have mystery and twists so you are not 100% sure whether the heroine is taken from the water of dreams it. I am not aware of anyone doing their own visual interpretation of The Ninth Wave - in the form of a short film. If there is any out there, then I would like to know! I am sure Kate Bush would not be averse to seeing it on the screen. She would have to have a big say in all aspects.

From the casting, to seeing the final thing, she would be the one who signs it off. It could be this sweeping and dramatic short film where the ending may take people by surprise – whether we know the truth at the end; if the person in the sea is rescued and taken to land. For years she wanted to make this into a film, but that was delayed because of recording albums and life in general. It remains un-filmed – or unreleased as a film – to this very day. So many people out there would want to see this! It came back to mind, as I am writing about Hounds of Love. Each song on The Ninth Wave has its own sound and skin, and yet everything flows and hangs together perfectly! That is testament to Kate Bush’s instinct and talent as a songwriter and producer. A beautiful and immersive – maybe we get to see underwater and above the Earth – short film of The Ninth Wave would be…

A wonderful thing!

FEATURE: The Digital Mixtape: Different Class: The Brilliant Jarvis Cocker at Sixty

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Peter Hönnemann

Different Class: The Brilliant Jarvis Cocker at Sixty

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I am looking ahead…

 PHOTO CREDIT: Daniel Cohen

and forward to 19th September - as that is when Jarvis Cocker turns sixty. Even though it is a couple of weeks away or so, I wanted to spend some time with his wonderful music. As a member of Pulp, he has sung and written some of the most important songs of the past thirty years. I am going to get to a career-spanning playlist that includes classic Pulp tracks and some deep cuts; some of his solo work; bits of the album he made under the moniker/band JARV IS… Such a legend of the music scene, it is only right to salute the Sheffield-born genius. First, here is some biography about the incredible Jarvis Cocker:

“Misfits have often been part of rock & roll, but of the many outsiders, few have been as clear-eyed, passionate, and savagely witty as Jarvis Cocker, a bookish, sex-obsessed English eccentric who became not just a star but a pop archetype as the leader of Pulp in the 1990s. It's been impossible to separate Jarvis Cocker's story from Pulp's -- he was not only the founder, he was the creative force and the only constant member during the group's long history. Winding down Pulp not long after the group's 2002 album We Love Life was not so much the breakup of a band as it was the closing of a chapter in Cocker's life -- he moved from the U.K. to settle in Paris with his new wife and child. After a few quiet years he began recording again, first as a member of the barbed electro-pop duo Relaxed Muscle and then as a solo artist, releasing his debut solo album, Jarvis, at the end of 2006. The gnarled, dissatisfied harder rock of Further Complications followed in 2009, and Chansons d'Ennui Tip-Top, a tie-in to the 2021 Wes Anderson film The French Dispatch, offered stylized covers of cinematic French pop classics.

At the time of the release of his solo debut, Cocker had been pursuing a music career for nearly 30 years. At the age of 15 in 1978, he formed Arabacus Pulp, dropping the "Arabacus" before they went public -- and they went public in a big way, having their first Peel Session in November 1981 before they'd even released an album. It was an auspicious beginning, but Pulp then settled in for a decade of struggle. They released the bedsit indie pop It to little attention in 1984, then they morphed into murky goth rock a year later, signing to the British indie Fire in 1985, with Freaks following in 1986. Two years later, Cocker, along with Pulp bassist Steve Mackey, left his hometown of Sheffield to attend university at St. Martin's College in London. Pulp were still an active, if irregular, proposition and they had once again shifted sound, incorporating elements of the burgeoning rave and acid house movements for their next album, Separations, recorded in 1989 but not released until 1991, when the single "My Legendary Girlfriend" began attracting attention, including being awarded Single of the Week by NME.

My Legendary Girlfriend kicked off the classic years of Pulp. They signed to Gift in 1992, where they soon hit upon their signature sleek, sexy sound, equal parts glam and post-punk. Babies proved to be their breakthrough into the big leagues, leading to a contract with Island Records, which released the band's major-label debut, His 'n' Hers, in the spring of 1994. The album did well, garnering good reviews and earning a Mercury Award nomination, but they truly entered the big leagues in 1995, as the bracing "Common People" single became a smash hit -- the kind of hit that defined an era. Its accompanying album, Different Class, was equally successful, entering the charts at number one and going gold within its first week of release. Pulp were now stars -- or, perhaps more accurately, Jarvis Cocker was now a genuine star, appearing on magazine covers constantly, popping up on television, even earning the honor of being parodied by TV comedians throughout 1995.

All these heady times culminated at the 1996 Brit Awards when he interrupted Michael Jackson's performance of "Earth Song" and was later arrested for his stunt. This prank only cemented Cocker's position as a British pop hero, but his status soon weighed heavily on his shoulders, as evidenced by the band's gloomy 1998 follow-up to Different Class, This Is Hardcore, an ambitious, arty album that slowed Pulp's commercial momentum. The hits might not have been arriving as quickly as they once did, but Cocker continued to work and not just in Pulp: he sang with Barry Adamson, wrote with the All Seeing I, and directed various music videos. One more Pulp album -- the elegiac Scott Walker-produced We Love Life -- followed before the band quietly became inactive.

Cocker moved to Paris with his new wife, Camille Bidault-Waddington, and they soon started a family. After a few quiet years, he and ex-Fat Trucker Jason Buckle, augmented by former Pulp touring guitarist Richard Hawley, embarked on the electro-pop project Relaxed Muscle, releasing one album -- A Heavy Nite With -- in 2003. It was a low-key project and Cocker continued to do low-key work, collaborating with pop queens Nancy Sinatra and Marianne Faithfull, and working with the Lovers in 2005. Later that year, he began to re-emerge in a more public fashion, notably as the leader of the Weird Sisters, the supergroup assembled for a Hogwarts school dance sequence in Harry Potter and the Goblet of Fire; it also featured Pulp's Steve Mackey and Jonny Greenwood and Phil Selway from Radiohead.

But 2006 was the real kickoff of Cocker's solo career, as he and Mackey put together an edition of the various-artists' series The Trip, released the single "Running the World" on the Internet that summer, and then released his solo debut, Jarvis, at the end of the year. The next three years found Cocker's trajectory steadily climbing. Collaborations with others in 2008 (Marianne Faithfull's album Easy Come Easy Go and a Heaven 17 cover duet with Beth Ditto) as well as some guitar playing on David Byrne and Brian Eno's Everything That Happens Will Happen Today set the stage for the release of his second solo effort, Further Complications, in May of 2009.

Following Further Complications, Cocker eased away from the spotlight. He published a book of lyrics in 2011 called Mother, Brother, Lover: Selected Lyrics, took production gigs, and made cameo appearances on albums, and in 2014 he became an Editor-at-Large for Faber & Faber. Cocker didn't release another album until 2017, when he paired with Chilly Gonzales for Room 29, a wry ode to Hollywood's Chateau Marmont. He formed the acclaimed, improvisational Jarv Is project that same year, with a lineup that included harpist and songwriter Serafina Steer and the James Taylor Quartet bassist, Andrew McKinney. Their debut album, Beyond the Pale, appeared in September 2020. In late 2021, Cocker issued Chansons d'Ennui Tip-Top to accompany Wes Anderson's film The French Dispatch. It featured covers of material originally performed by the likes of Serge Gainsbourg and Jacques Dutronc, as well as a duet with Stereolab's Laetitia Sadier”.

One of music’s most loved and respected figures, I am sure Jarvis Cocker will see in his seventh decade of life in his unique way. Having reunited with Pulp, people who may have missed them tour in the 1990s now have the opportunity to do so. I am not sure whether any new music will come from them. Maybe Cocker will put out a solo album, or perhaps another with JARV IS… On 19th September, the music world – fans and journalists alike – will wish this music master…

A very happy sixtieth birthday.

FEATURE: Strings and Keys: Why Putting Music Back on All Schools’ Curriculum Is Essential for the Future of the Industry

FEATURE:

 

 

Strings and Keys

PHOTO CREDIT: Mazhar Soldan/Pexels

Why Putting Music Back on All Schools’ Curriculum Is Essential for the Future of the Industry

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NOT to be too dramatic.…

 PHOTO CREDIT: Marta Wave/Pexels

but there is something worrying happening across schools. Hardly surprising under this Government; it seems music, not a huge part of the curriculum anymore, is starting to disappear altogether. There are inalienable and essential courses and subjects that need to be taught at every school. I think that, as the world becomes more difficult to navigate and politics is making its way to the forefront, this is something that needs to be taught. A basic political course that discusses everything from climate change and protecting the environment, through to poverty and the wealth divide, would be useful. I am not sure whether there is a course like this at primary schools and above (maybe a General Studies thing?!), but you feel like the young of today need to be prepared and educated to thing sort of thing. More equipped and informed about the wider world than I was when I was at school in the 1990s. I was reading the Big Issue . Clare Sawers was arguing why music needs to be part of the solution – the Big Issue did a wider set of features stating why this generation is getting a raw deal when it comes to education. When I was at school, there was an option to take music. It was always part of the curriculum. Rather than it being an optional course, we had access to music and instruments from primary school onward. By the time I got to high school, it was still part of my regular lessons.

IMAGE CREDIT: macrovector via Freepik

It was only when getting to sixth-form college that it became an option. Even then, it would have been free education. University would have been the first time I’d have to pay for music education (I didn’t take it at university; I started at university in 2001). Having always grown up around music and knowing that it was available at my school, it is shocking to discover that it is being phased out from many. Sawers wrote how playing an instrument could soon become a hobby for the rich. Think about piano or violin lessons. Once part of my education, we will see a day when this sort of access will be available to privately-educated students. That, or children/parents will have to pay for lessons. Something as fundamental and common as the guitar or drums. Unless kids get lessons or they are bought the instruments, then they will not have any option or access. A study from Birmingham City University found that fewer people are taking Music as an A-level course. Whether it is a subject that is being offered to people or whether there is a lack of interest. They found that “The key finding from our research is that A-level music is continuing to decline in terms of numbers of entries and that, if the trend continues at the same rate, there won’t be any more entries for A-level music by 2033”. The fact is that, when you look around the music industry now, there is that divide. So many younger artists have had to take private music lessons. They also may be the last generation of people who have had easy access to music.

 IMAGE CREDIT: Rochak Shukla via Freepik

I know that there are online courses and it is not budget-breaking to study an instrument. The fact is, because music was part of the curriculum and was a social thing where kids had easy access from a very young age, means we get to see these great artists come through. Would The Beatles, as working-class people, have made music and got where they were if they could not study it at school and have affordable access?! It would be devastating to think about the consequences! I fear now we are living in a time when potential and promising musicians are either not going to be able to afford to follow their passion; there may be a reduction in working-class artists emerging. A music scene that thrives on diversity and mix will soon be homogenised and exclusive. Potential artists might not take up an instrument and rely on technology. That lack of organic instrumentation and kids applying themselves to an instrument is horrifying! It is a skill and discipline that is so impressive. If we get rid of that, I do fear modern music will become driven by technology to an extent where it is lifeless. Budgets are being slashed around the country. Once considered essential or a key part of education, Music as a course is now more of a luxury. When subjects have to be cut, The arts are the first to suffer. I would argue that there are subjects far less worthy and important than Music that is not even considered for cuts. I shan’t name them!

 PHOTO CREDIT: master1305 via Freepik

Suffice to say, a musical education does a lot more than teaches you have to play an instrument or sing. It is a cultural window into the past and future. By studying music, you are also getting taught about history, geography and other subjects - most of which are seen as mandatory. The music industry now still has an issue when it comes to gender imbalance. I think it is also still imbalanced when it comes to social classes. Fewer working-class artists at the forefront than there has been for decades. Fairly recently, there were plans in Scotland to cut music spending by 60%. This was met with uproar. Luckily, a Musicians Union-backed initiative forced them to reconsider! Also, in 2021, a study by the Society of Musicians founds that 61% of respondents’; music budgets were ‘insufficient’. Teachers topping up budgets through their own pockets or holding songwriters. As the piece from the Big Issue explains, a homogenisation or exclusivity would make the music landscape very boring indeed. The music budget in independent schools is massive compared to state schools. Yearly budgets for authority schools is £1,865, compared with £9,917 for those at independent schools. There are organisations and bodies working hard to ensure that the next generation have access to music without huge cost or discrimination! The likes of World Heart Beat are crucial. They provide free music tuition ands live performances. They have seen kids from deprived backgrounds with broken phones and not much to their name not going to school; they still show up to do music. They may have lost parents recently, or they are torn as to what careers are open to them.

 PHOTO CREDIT: RDNE Stock project/Pexels

Music and organisations like World Heart Beat offer a nurturing and safe space. That offers more than education. There are so many skills one can pick up unconnected to music by being around like-minded people who want to pursue music. Music, unlike other subjects taught at schools and colleges, is not restricted and quite niche. There is this higher variation and ripple that one gets when they learn an instrument or bond with music. It influences one’s behaviour and their social outlook. That sense of community and self-belief is key. It seems that there are purse strings being tightened because music is seen as a hobby or something that won’t be beneficial. Maybe the feeling a career in music is rare and it is hard to make a living from it (maybe governments wonder why encourage children to learn music when they can’t do anything without that skill?!). Creative industries make up 12.6% of London’s economy – where it brings in £13 billion a year. The narrowing of the curriculum means we lose the joy and importance of music. You do not have to look too far back to see a time when music was seen as natural and an unquestioned part of education. This caviller approach to cutting budgets and threatening music’s future is worrying! If it is not an A-level subject or something that is reserved for the wealthier, then this will have a knock-on effect throughout the music industry and culture in general.

IN THIS PHOTO: The Beatles performing at the London Palladium in 1963/PHOTO CREDIT: Getty Images

The only reason we have legendary artists and bands who changed the world is because music was available to them. Whether a free lesson and part of their education, or they had easier access to instruments and a like-minded group, if we threatened and shrink that, what are we left with?! It is a worrying state of affairs with only small glimmer of hope. It should not be down to charities and organisations to ensure that young people have access to music education and resources. In the same way as English and Mathematics are core to the school curriculum, so too should music. I wonder what the history of music would have been if we rewrote the narrative so that young people had to pay to get access to music education and instruments. The bands and artists we would have lost. The Government’s seemingly uninformed and reckless rationing of funds towards music, coupled with their view that it is a subject that should be nixed from the curriculum, is very infuriating! The only way for the music industry to diversify and spotlight amazing voices from all backgrounds is through consistent funding and ensuring music is left on the curriculum through schools and colleges. Let’s hope that this undeniable and essential fact…

 PHOTO CREDIT: Pavel Danilyuk/Pexels

STRIKES a chord.

FEATURE: The Digital Mixtape: Amplified: The Queens Who Rock

FEATURE:

 

 

The Digital Mixtape

 IN THIS PHOTO: Panic Shack/PHOTO CREDIT: Sian Adler via NME

Amplified: The Queens Who Rock

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I may have done something similar before.…

IN THIS PHOTO: Nova Twins/PHOTO CREDIT: Corinne Cumming

but, as Indie, Rock and ‘harder-sounding’ genres are still viewed by some as male-led and dominated, I wanted to shine a light on the queens who are proving that wrong. Looking at festival line-ups, I guess some are doing better at integrating more female-led Rock, Post-Punk and Indie Rock bands. We shouldn’t even need to use terms like ‘female-led’ or ‘female’, as there should be this recognition and equality already! Regardless, as there is an issue with gender disparity and a failure from festivals to balance things, I did want to focus on women specifically and highlight gender – plus, as a music journalist with a feminist bent and preference, it is part of what I do already. Below is a playlist of great bands comprised of or led by amazing women. Maybe some have played bigger festivals already - though I feel these must-hear groups should be headlining soon. From bands like The Last Dinner Party and Panic Shack, through to the likes of Nova Twins and Amyl and the Sniffers, there is a great mix of the upcoming and must-watch bands, through to the legends who have been on the scene for a little while now. Here are some terrific queens who need to be…

 IN THIS PHOTO: The Last Dinner Party/PHOTO CREDIT: Patrick Gunning for DORK

IN your sights and ears.

FEATURE: Myths and Monsters: Cowedbusting: Kate Bush’s ‘Big Return’, Hounds of Love, at Thirty-Eight

FEATURE:

 

 

Myths and Monsters

Cowedbusting: Kate Bush’s ‘Big Return’, Hounds of Love, at Thirty-Eight

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I have titled this feature as such…

 IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: Guido Harari

as there was a lot of rumour and controversy surrounding Kate Bush in 1985. Interestingly, I am reading a Classic Pop special where they chart Madonna’s entire career. At the time of Like a Prayer (1989), where she signed an unprecedented $5 million deal with Pepsi, she did a commercial that was watched by millions. The next day, her Like a Prayer video came out and was met with huge backlash. Seen as blasphemous, sacrilege, and offensive, its depiction of burning crosses and Madonna kissing a Black man meant that she was vilified by many. Interestingly and pleasingly, that sort of controversy had the opposite impact on the record buyers. The album sold massively and was a chart-topper. Not that she planned it that way, yet the controversy seemed to compel people to buy Like a Prayer almost in rebellion! In the case of Kate Bush in 1985 – a year when Madonna’s Like a Virgin (1984) album was on fire and she was confirmed as the Queen of Pop -, the rumours painted Bush to be somewhere between a beast and a recluse. Because she had not dared to put an album out in three years – heaven forefend! -, many thought she was either on drugs, massively overweight, involved in some scandal, or she had been dropped by her label – or perhaps all of those! The truth was simple: Kate Bush, practically days after the tabloids started going into a hysteria about this once-famed singer disappearing, released her fifth studio album. In fact, a lot of that speculation started just before Running Up That Hill (A Deal with God) came out on 5th August, 1985. As it was, the years between 1982 and 1985 had been very busy for Kate Bush. Hounds of Love’s release on 16th September, 1985 was the culmination. You do not get an album that good from rushing!

She was finishing up The Dreaming’s promotion. Still releasing singles and music for a lot of that in between period, there was a tonne going on. In 1983, as I have written many times, Bush was starting demos of songs (most of that was productive in 1984, yet Bush had songs brewing and in some form), getting a home studio started, and really laying all the groundwork for her fifth studio album. If producing The Dreaming was a slightly tormenting and exhausting process, Bush was not going to quit producing. She knew her production voice was the only that should be heard, though recording at multiple studios and taking on so much, she built a bespoke studio by her family home and would allow herself some time before recording the album to be normal – to kick back for a second and get some energy back. Recommitting to dance and eating more healthily, that led to incredible inspiration. Surrounding by nature and something less foreboding as London, Bush was merely giving herself enough time to compose and record an album that many consider to be one of the best of all time. In future Hounds of Love features, I will look at different elements of the album, in addition to focusing on a few songs that do not get as much coverage as the singles. It is interesting how the tabloids focused on Bush and felt that she was some mythical beats almost. Hidden away or depressed after The Dreaming. As PROG noted in 2021, there was a lot of writing Bush off before she retorted with one of her very best songs:

“On August 5 1985, Kate Bush made an appearance on Terry Wogan’s early evening BBC1 chat show. Introduced by the avuncular host, the singer lip-synced her way through her new single, Running Up That Hill (A Deal With God). Standing at a wooden podium while clad in what looked like a monk’s cowl, and backed by a group of similarly-attired musicians, she looked like a cross between a politician and a 16th century religious leader.

Her presence on prime time TV was something of a surprise. Just a few days earlier, the NME had mentioned Bush in a piece headlined ‘Where Are They Now?’. Unfortunate timing aside, you could see their point. It had been three years since the singer had last released an album, and she’d been largely absent from the spotlight since then – a lifetime away in those pre-internet days. Rumours swirled that she’d ballooned to 18 stone, or was living as a recluse in the French countryside, or both.

As the Wogan appearance proved, the rumour about her weight wasn’t true. And while she had retreated from public view, it was to Kent rather than France, and she certainly hadn’t been idle. What she had been doing was working on her fifth album, away from the eyes of the media and her own record label.

That record, which would hit the shelves a month after her TV reappearance, was Hounds Of Love. Her fifth album, it retained the progressive spirit of her earlier career while bringing both a new maturity and a wild sense of anything-goes abandon to her work. It would be a watershed for Bush, ushering in the second act of her career, and influencing such disparate talents as Within Temptation, Bjork, and The Futureheads. At the time, it sounded like nothing else around. Today, almost 30 years on, it stands as one of the most visionary records ever made”.

Those who felt Bush was retired and retreated didn’t realise just how hard Bush was working. A different approach and line-up to the one on The Dreaming, these songs were very different. The singles, more commercial, were designed more to impact. Rather than deliberately trying to write singles, Bush balanced the accessible with the extraordinary. The album’s second side, The Ninth Wave, was her first conceptual suite. Few female artists have written anything like this. It remains many people’s favourite aspects of Hounds of Love. It makes it all the more laughable anyone dared to think Kate Bush was done. The hateful and insulting rumours about her weight or drug use. In fact, healthier and happier than she had been in a while, the twenty-seven-year-old released a masterpiece. Thanks to the Kate Bush Encyclopedia for sourcing interviews where Bush discussed making a mighty and unbeatable album:

“Many hours were spent on tiny vocal ideas that perhaps only last half a minute. Many hours went on writing lyrics - one of the most difficult parts in the process for me, in that it's so time-consuming and so frustrating, and it just always seems to take far too long for something that seems as though it should come so naturally. One of the difficult things about the lyrics is that when I initially write the song, perhaps half of the lyrics come with it but it's almost more difficult fitting in the other half to make it match than it would be perhaps to start from scratch, where, for instance, you might have just hummed the tune; or where, in some cases, I wrote them as instrumentals, and then the tunes were written over the top of this. Many times I ring up Paddy and ask him to come over to the studio immediately, to bring in that string-driven thing - to hit that note and let it float.

One of the most positive things is now having our own recording studio where we can experiment freely, and it's definitely one of the best decisions I've made since I've been recording albums. We've put a lot of hard work into this album, so we've been waiting for it to be finished and ready, and I know you've been waiting. I hope that after this time, and after all the snippets of information we've been giving you, you don't find it disappointing, but that you enjoy it, and that you enjoy listening to it in different ways again and again.

This album could never have happened without some very special people. Many thanks to Julian Mendelsohn, and especially Haydn Bendall and Brian Tench, who put a lot of hard work into this project, to all the musicians, who are a constant inspiration, to Ma who helps with every little thing, to Paddy and Jay for all their inspiration and influences, and again to Del for all those moments we've captured on tape together. (Kate Bush Club newsletter, 1985)

On this album I wanted to get away from the energy of the last one - at the time I was very unhappy, I felt that mankind was really screwing things up. Having expressed all that, I wanted this album to be different - a positive album, just as personal but more about the good things. A lot depends on how you feel at any given time - it all comes out in the music. (James Marck, 'Kate Bush Breaks Out: Bush's Bridges'. Now - Toronto Weekly, 28 November 1985)

The first in my own studio. Another step closer to getting the work as direct as possible. You cut all the crap, don't have all these people around and don't have expensive studio time mounting up. A clean way of working. ('Love, Trust and Hitler'. Tracks (UK), November 1989)

I never was so pleased to finish anything if my life. There were times I never thought it would be finished. It was just such a lot of work, all of it was so much work, you know, the lyrics, trying to piece the thing together. But I did love it, I did enjoy it and everyone that worked on the album was wonderful. And it was really, in some ways, I think, the happiest I've been when I'd been writing and making an album. And I know there's a big theory that goes 'round that you must suffer for your art, you know, ``it's not real art unless you suffer.'' And I don't believe this, because I think in some ways this is the most complete work that I've done, in some ways it is the best and I was the happiest that I'd been compared to making other albums. ('Classic Albums interview: Hounds Of Love, with Richard Skinner. BBC Radio 1 (UK), 26 January 1992)”.

Even though fans knew that Kate Bush would never spiral or quit, it seemed like there was cynicism from the press. If an artist doesn’t get albums out quickly and keep in the spotlight, they are subjected to being forgotten or scandalised! I would have loved to have been Kate Bush reading the tabloids or NME and knowing, very soon, she would unveil an album that would shut everyone up! If some felt that 1985 was a year when Kate Bush was almost done in the music industry, Hounds of Love proved that this assumption…

COULDN’T be further from the truth.

FEATURE: Spotlights and Highlights: Kate Bush’s The Dreaming at Forty-One

FEATURE:

 

 

Spotlights and Highlights

IN THIS PHOTO: Kate Bush in 1982

Kate Bush’s The Dreaming at Forty-One

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IN this anniversary feature…

for Kate Bush’s The Dreaming – which turns forty-one on 13th September -, I wanted to highlight tracks that were not singles but deserve attention. I did the same for Never for Ever. If the singles from that 1980 album are played more than any other, then it is especially true of The Dreaming. In fact, you only really hear Sat in Your Lap (the first single) played. There are four especially strong and interesting songs either not released as a single or was not released as one in the U.K. I am also going to end with a playlist that ranks the album tracks. I will reorder The Dreaming so that my favourite is at the top; the least favourite (I love all the songs but some more than ever) at the end. Number three in the U.K., prior to getting to specific songs, I want to reuse an interview snippet from 1986 where Bush quite rightly says that The Dreaming is more of a suite and single piece than individual songs. It is ironic that I am pulling apart the album, but it is interesting highlighting excellent moments:

“I have no doubt that those who buy singles because they like my hits, are completely mystified upon hearing the albums. But if it comes to that, they should listen to it loudly! If a single theme linked The Dreaming, which is quite varied, it would be human relationships and emotional problems. Every being responds principally to emotions. Some people are very cool, but they are silenced by their emotions, whatever they might be. To write a song, it's necessary that I be completely steeped in my environment, in my subject. Sometimes the original idea is maintained, but as it takes form, it possesses me. One of the best examples would be this song that I wrote on 'Houdini': I knew every one of the things that I wanted to say, and it was necessary that I find new ways that would allow me to say them; the hardest thing, is when you have so many things to fit into so short a space of time. You have to be concise and at the same time not remain vague, or obscure. The Dreaming was a decisive album for me. I hadn't recorded in a very long time until I undertook it, and that was the first time that I'd had such liberty. It was intoxicating and frightening at the same time. I could fail at everything and ruin my career at one fell swoop. All this energy, my frustrations, my fears, my wish to succeed, all that went into the record. That's the principle of music: to liberate all the tensions that exist inside you. I tried to give free rein to all my fantasies. Although all of the songs do not talk about me, they represent all the facets of my personality, all my different attitudes in relation to the world. In growing older, I see more and more clearly that I am crippled in facing the things that really count, and that I can do nothing about it, just as most people can do nothing. Making an album is insignificant in comparison with that, but it's my only defense. (Yves Bigot, 'Englishwoman is crossing the continents'. Guitares et Claviers (France), February 1986)”.

There are four tracks from The Dreaming that are deeper cuts I wanted to highlight. Thanks hugely to the Kate Bush Encyclopedia who are a resource I could not be without! I am going to donate to them as a thanks. They have collated interviews where Bush spoke about various songs. The first I want to highlight is the amazing Suspended in Gaffa. I think this should have been a U.K. single. The brilliant There Goes a Tenner was released instead. Suspended in Gaffa was released in mainland Europe. It did okay in France and Spain, though not a lot else. I think it could have been top forty in the U.K. There Goes a Tenner was distinctly not in the top forty. Here is what Bush said about Suspended in Gaffa:

“I could explain some of it, if you want me to: Suspended in Gaffa is reasonably autobiographical, which most of my songs aren’t.  It’s about seeing something that you want–on any level–and not being able to get that thing unless you work hard and in the right way towards it. When I do that I become aware of so many obstacles, and then I want the thing without the work. And then when you achieve it you enter…a different level–everything will slightly change. It’s like going into a time warp which otherwise wouldn’t have existed. (Richard Cook, 'My music sophisticated?...'. NME (UK), October 1982)

'Suspended In Gaffa' is, I suppose, similar in some ways to 'Sat In Your Lap' - the idea of someone seeking something, wanting something. I was brought up as a Roman Catholic and had the imagery of purgatory and of the idea that when you were taken there that you would be given a glimpse of God and then you wouldn't see him again until you were let into heaven. And we were told that in Hell it was even worse because you got to see God but then you knew that you would never see him again. And it's sorta using that as the parallel. And the idea of seeing something incredibly beautiful, having a religious experience as such, but not being able to get back there. And it was playing musically with the idea of the verses being sorta real time and someone happily jumping through life [Makes happy motion with head] and then you hit the chorus and it like everything sorta goes into slow mo and they're reaching [Makes slow reaching motion with arm] for that thing that they want and they can't get there. [Laughs] (Interview for MTV, November 1985)”.

One track that is especially strong that people might not know about is Leave It Open. The end of side one, it is an eccentric, deep and brilliant song that warrants far greater attention and respect. I love the interviews available, where Bush discussed one of The Dreaming’s most memorable songs.

“Leave It Open' is the idea of human beings being like cups - like receptive vessels. We open and shut ourselves at different times. It's very easy to let you ego go "nag nag nag" when you should shut it. Or when you're very narrow-minded and you should be open. Finally you should be able to control your levels of receptivity to a productive end. (Richard Cook, 'My Music Sophisticated? I'd Rather You Said That Than Turdlike!'. NME (UK), October 1982)

Talking about "guessing", at last someone has discovered what's being said at the end of ``Leave It Open'' - well done! But let me tell you about some of the fascinating encounters I've had. There is a Mr. John Reimers from the U.S.A. who has rung up once a week with his new version:

"Is it...?"

"Nope!"

"Well, is it...?"

"Nope!"

"Tell me! Tell me!"

John, you're terrific!

But I'm afraid this is just a mild case. One night I woke up to a tapping on the window. It was someone hanging from a nearby tree by their feet. In their hands was a card, and written on it was: "Is it 'We paint the penguins pink?'" I'm afraid I had to laugh, and shook my head. They burst into tears and ran off into the moonlight. But I think the cleverest was a phone call I had the other week.

"Hello, Kate?"

"Hello?"

"It's Jay here, how are you doing?"

He sounded a little squeaky to me. Then he said: "You know, it's ridiculous. I was sitting here listening to the end of 'Leave It Open' the other day, and I just couldn't remember what you said - I know it's crazy but -"

I interrupted.

"'We paint the penguins pink.'"

"Oh, yeah! Of course, how could I forget? See you soon - bye!"

Hmmm... see what I mean?... C-lever!

But seriously, I have enjoyed your guesses tremendously, but I have terrible dreams about your reactions now that the answer has been revealed. Do I hear cries of "You're kidding! But that's stupid!" or "Cor, that's pathetic - all our efforts over that?"

Well, I hope not... And remember to let the weirdness in. (Kate Bush Club newsletter, 1984)”.

There are a few tracks on the second side that are worthy of love. I feel two in particular could have been singles and were not. They are the final two songs on the album. I am starting with a song that is actually my favourite from Kate Bush. Houdini, in addition to being underplayed, is one that you sort of see played out on The Dreaming cover. We see Bush, as Harry Houdini’s wife, Bess, go to pass Houdini (played by Del Palmer) a golden key. As the song explains, this kiss would mask the key, so when Houdini did an underwater trick or needed to escape, he would have the key there and be able to sort of hoodwink in that sense. It is a remarkable song with some extraordinary production from Bush. It is also one of her finest vocals. The rawness you hear was achieved by her drinking milk and eating chocolate to get more mucus and gravel. It worked wonders! This is a song that Bush seems very fond of. One that is distinctly her. Here, Bush explains more about the wonderous and epic Houdini:

“The side most people know of Houdini is that of the escapologist, but he spent many years of his life exposing mediums and seances as frauds. His mother had died, and in trying to make contact through such spiritual people, he realized how much pain was being inflicted on people already in sorrow, people who would part with money just for the chance of a few words from a past loved one. I feel he must have believed in the possibility of contact after death, and perhaps in his own way, by weeding out the frauds, he hoped to find just one that could not be proven to be a fake. He and his wife made a decision that if one of them should die and try to make contact, the other would know it was truly them through a code that only the two of them knew.

IN THIS PHOTO: Kate Bush in album cover outtake for The Dreaming/PHOTO CREDIT: John Carder Bush

His wife would often help him with his escapes. Before he was bound up and sealed away inside a tank or some dark box, she would give him a parting kiss, and as their lips met, she would pass him the key which he would later use to unlock the padlocks that chained him. After he died, Mrs. Houdini did visit many mediums, and tried to make contact for years, with no luck - until one day a medium called Mr. Ford informed her that Houdini had come through. She visited him and he told her that he had a message for her from Houdini, and he spoke the only words that meant for her the proof of her husband's presence. She was so convinced that she released an official statement to the fact that he had made contact with her through the medium, Ford.

It is such a beautiful and strange story that I thought I had very little to do, other than tell it like it was. But in fact it proved to be the most difficult lyric of all the songs and the most emotionally demanding. I was so aware of trying to do justice to the beauty of the subject, and trying to understand what it must have been like to have been in love with such an extraordinary man, and to have been loved by him. I worked for two or three nights just to find one line that was right. There were so many alternatives, but only a few were right for the song. Gradually it grew and began to piece together, and I found myself wrapped up in the feelings of the song - almost pining for Houdini. Singing the lead vocal was a matter of conjuring up that feeling again and as the clock whirrs and the song flashes back in time to when she watched him through the glass, he's on the other side under water, and she hangs on to his every breath. We both wait. (Kate Bush Club newsletter, October 1982)”.

Many albums finish with the most personal track. Perhaps the one that is most representative of the album. I feel this has been the case with Kate Bush quite a lot. Get Out of My House, with its visions of paranoia and a possessed house, seems to be an insight into some of her feelings producing The Dreaming. Maybe feeling enclosed and tired. Working manically and all hours, it is only natural that she would feel strung out and a little paranoid! She explains more here:

“The song is called 'Get Out Of My House', and it's all about the human as a house. The idea is that as more experiences actually get to you, you start learning how to defend yourself from them. The human can be seen as a house where you start putting up shutters at the windows and locking the doors - not letting in certain things. I think a lot of people are like this - they don't hear what they don't want to hear, don't see what they don't want to see. It is like a house, where the windows are the eyes and the ears, and you don't let people in. That's sad because as they grow older people should open up more. But they do the opposite because, I suppose, they do get bruised and cluttered. Which brings me back to myself; yes, I have had to decide what I will let in and what I'll have to exclude. (Rosie Boycott, 'The Discreet Charm Of Kate Bush'. Company (UK), 1982).

It's meant to be a bit scary. It's just the idea of someone being in this place and there's something else there... You don't know what it is. The track kept changing in the studio. This is something that's never happened before on an album. That one was maybe half the length it is now. The guitarist got this really nice riff going, and I got this idea of two voices - a person in the house, trying to get away from this thing, but it's still there. So in order to get away, they change their form - first into a bird trying to fly away from it. The thing can change as well, so that changes into this wind, and starts blowing all icy. The idea is to turn around and face it. You've got this image of something turning round and going "Aah!"' just to try and scare it away.  (Kris Needs, 'Dream Time In The Bush'. ZIgZag (UK), 1982)”.

As it is forty-one on 13th September, I wanted to spend time with The Dreaming. Highlighting songs that should be given more focus. In fact, the whole album should be played more than it is. I am going to include the album here but, underneath it, is my ‘reordered’ version. Taking the best track in my view; going down to one that, whilst magnificent, I maybe play a little less. See what other people think. As Bush has said, it is not really a singles album and one that you can pull apart. You need to listen to the whole thing and…

LET the weirdness in!

FEATURE: All They Ever Look For: Kate Bush’s Never for Ever at Forty-Three: The Interviews

FEATURE:

 

 

All They Ever Look For

 IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: Patrick Lichfield

Kate Bush’s Never for Ever at Forty-Three: The Interviews

_________

THIS is the final feature…

about Kate Bush’s Never for Ever, as it turns forty-three on 8th September. Produced by Kate Bush and Jon Kelly, it was a number one success and it spawned successful singles, Breathing, Babooshka and Army Dreamers. Even though it is one of Kate Bush’s most successful albums, it is still not as discussed and celebrated as it should be. Many of its songs have not been played on the radio - including the sublime All We Ever Look For and Blow Away (For Bill). This final feature is going to be bringing in a few interviews from 1980. Promoting the album and showcasing a newer direction and sound, it did fascinate critics. There are a few interviews I want to quote from. The first, from Sounds on 30th August, 1980 found Phil Sutcliffe probe the extraordinary Kate Bush:

“WHAT THEY say about Kate Bush is that she's a lisping innocent, a born-with-a-silver-spoon, a too-good-to-be-true, a safe and uncontroversial, soppy, record industry banker.

What l reckon is she's brave and honest, the most sensual writer/performer around. For her, forget politico-socio-economics (which is crucial but not the only crux). Just feel her. She's very tactile, music you can touch, sometimes smell and taste too. All the senses embraced, like making love -- not as complete as experience by any means, sure, but . . . reminiscent.

As she wrote in 'Symphony In Blue': 'The more I think about sex/ The better it gets/ here we have a purpose in life/ Good for the blood circulation/ Good for releasing the tension'.

Doubters should see the front cover of her new LP, 'Never For Ever', out next week. Then they might recognize her. There's a painting of a cartoon Kate on a hill, the wind blowing her skirt and hem beneath it issues a billowing spume of people, devils, animals, monsters, birds, fish, butterflies --- the raw material of her songs intact, spreading and curving like the cornucopia, horn of plenty. The message is sensually true (hear, see, feel, taste, smell). Kate Bush's music flows like love juice.

'Breathing

Breathing my mother in,

Breathing, my beloved in,

Breathing, breathing her nicotine,

Breathing,

Breathing the fall-out, out in'

This is how the readers of teeny girl's magazine Look In were told to think about Kate Bush: 'To every young girl working hard at dance classes and learning music, the story of Kate Bush's rise to fame must seem like the ultimate fairy story. Few may look as striking as Kate, and it's unlikely that many have her incredible vocal range, but her rise to acclaim gives us all a model to aspire to -- showing just how much sheer hard work is involved in reaching the top.'

Arsenic and old lace, slow-poisoning gentility. Encouraging aspiration, encouraging hard work, while quietly easing the rug from under you. It's nice to dream, but honestly you don't have the looks or the talent or the determination, do you dears? What you're really rehearsing for, when these childish games are over, is a long stint behind me cheese counter and in front of the kitchen sink. Your only chance is no chance.

Or, as Kate said when I'd finished quoting it at her: "If I was still at school and I read that I'd think 'Christ, I'll just give up and work in Woolworth then'. It would scare me life out of me."

She becomes ever more aware of the difference between Kate Bush the public image and Kate Bush the self she knows (which includes the artist). How could she be anything but bemused to find herself described in the Sun as 'top sexpot of the year' -- what's that? --and in Sounds voted Number 2 'Sex Object (Female)' -- what's that?

The ephemeral quality of celebrity had just reached a new level in fact, she said: "A couple of weeks ago I read the first interview with me I've seen which was entirely made up. I had never spoken to this magazine and there I was talking about my life and fame and so on."

For the past two years she's been coming to terms with the half-truth. Now it seems she will have to develop her acceptance of the complete lie. She's working on it: "It does still worry me that people read things and take it as gospel. So much of what you read is propaganda whether it's political or show biz."

She's been taken advantage of by people striding in with an 'I'm your greatest fan' smile, then tearing her apart in print. Very nasty, but she insist to herself that "they are all forgivable", even the ones who go away and give her a hard time for being too nice to them.

"What do they expect? Do they want me to rip the place apart? The thing is when I'm on stage I can do anything. I have a role to play. Off-stage it's hard for me to be anyone but myself which is a rather shy, philosophical...little thing."

'Little thing'! In moments like that you can see how she has set some people's teeth on edge with a mawkish word and a flash of the dimple high on her left cheek. We were setting out on a five-hour interview. If the schoolgirl coquette had struck the keynote it would have been unbearable. But Kate Bush was 22 on July 30. She's not like that anymore. The jokes about her saying amazing' and 'wow' all the time have worn thin.

Her own genuine fear that she is boring when she doesn't have a role to play is quite wrong now, if i twas ever true except in the self-fulfiling anticipations of many journalists. The feat itself may still be hampering her though. For instance, she invariably chooses the matt-finish neutral territory of the EMI office for interviews: she takes her self out of context. So I can offer you no significant details, no atmosphere. We were plonked down among someone else's business clutter with sandwiches wrapped in plastic and drinks from the tin.

Kate was wearing a lot of red and a lot of make-up -- one rough soul in the vicinity remarked that she seemed to have 'tarted herself up' way beyond her usual daily casualness, probably because she knew Mike Laye would be sitting in (although he didn't take any pictures as it happened). Later she did say she had been nervous because we had both deliberately built it up to her as 'a big one'.

'My radar sends me danger

But my instincts tell me to

Keep breathing'

So let me introduce you first to Kate Bush the professional. Of course, there are many in her position who, if they were worried enough by an interview to be nervious, wouldn't do it. She does have the power to decide not to be bothered with any of the show biz process apart from the music. Instead she quotes from whoever-it-was and steps out saying "As long as they spell my name right!"

She's the girl who goes along to pick up the awards in person when others send their fridges to take delivery. She's the one you see in the papers the next morning pulling silly faces and pointing at Alan Freeman who's pointing at her, or standing with her arm matily round fellow EMI earner Cliff Richard's shoulder, or scrunched between Bob Geldof, Paul McCartney and an armful of shields and plaques. Usually at these moments she looks quite barmy, but at least a hundred percent more alive than the company she's keeping.

Why?

"I'll always play up for photographers. I can't stand there looking miserable, it'll get printed anyway. To cope I have to play the complete loon, I do have to keep my face in the papers you know. I need the publicity."

She meant it, although the last couple of phrases did come out rather as if they'd been learnt by rote from 'Teach Yourself Show Biz'. Tactically it seemed to me she was underrating herself again. On the other hand the bare-faced, uncool honesty of her was more than striking.

"I don't like show biz. I very rarely go to parties. If I go to one of these dos it's because people have been good to make the effort for vote for me and I think I should say 'Thank you' rather than 'I can't be bothered to come, send it round.' "

The choking unctuousness and obsequious gluttony of those affairs is enough to turn your stomach and I dragged up a quote from Kate's past which suggested she had been suckered into the rotten opulence of it. According to another of those teen'n'weens mags she had spouted on about what 'a great honour it is to be part of this business'.

"If I said it I didn't mean exactly that. The honour is to know that people like me to be here and make my music and explore. Behind the business propaganda there is a connection between the artist and the public which is real. Take these Personal Appearances ('PAs' they say in the trade). You go to a shop and you're like some kind of royal person put on a pedestal and the people are led to you as if it was to kiss your feet. They're forced to buy an album to get your autograph.

"That part of it is horrible, but I like them because I meet all these faces full of therir own lives. It's really special to me. I do it because there's something human and good in it rather than refusing because it's not perfect.

"But if it wasn't for my music I wouldn't come near a situation like this (a glance took in our little room and its large implications). It would scare the shit out of me. There was a time when I would never have signed myself away to any record company. But what I wanted more than anything else was to get my songs on to an album. EMI were interested and there were willing to wait (giving her a few thousand pounds and a couple of years to 'grow up' with).

"Everyone's doing everyone up and you have to minimise that. My way isn't one of forcefulness, I like to talk to people on a mutual level. I've had to work and prove myself to people which I find a great challenge. There are so many aspects to people...Fred isn't just nice Fred, he's bad Fred, Fred that's cuddly, Fred when he's been drinking. It does get terrifying."

When her name, demos and pictures were first introduced to the majority of the EMI staff at an annual convention, the mainly male gathering nudged, winked and said "Wor, I wouldn't mind handling her, boss!" Some also noticed that 'Wuthering Heights' was a smash hit waiting to be pressed. If it had failed she would have been crushed in the cogs of the corporation. As it is, success is her passport through the long corridors. In this sense her greatest step forward on 'Never For Ever' is that she moved up to co-production with her everpresent engineer Jon Kelly.

"I'm free in lots of ways and I'm getting more free, more artistic control. The first two albums were a matter of proving I was a reasonably intelligent and creative human being who could produce their own project. A great deal of artists aren't capable of being objective enough. To be close with everyone involved and though their respect and enthusiasm create what you have been thinking about for over a year is a beautiful experience.

'Out-in, out-in, out-in...'.

There are two more than I want to highlight. It gives us an idea of how Bush was being perceived by the press - and, indeed, how she described her music and career. I think a lot of the questions asked of Bush were either too personal or not relating to her music. She always handles that with decorum and patience! Although we can’t be 100% sure the interview is from 1980, I want to bring in one that I have sourced before. ZigZag’s Kris Needs chatted with Kate Bush about her progress and remarkable new album:

“Kate had to be persuaded to do this interview. She didn't believe we wanted to talk to her! Thought we'd come in and stitch her up, I s'pose. However, once she'd perused a stack of old ZigZags, a meeting with a still-rather-puzzled Kate took place on a Friday afternoon at EMI.

Kate Bush has just done the Daily Express. Now it's me...But no way does she just press her nose and gush out the conveyor-belt niceties. We talk for over 90 minutes, touching all manner of subjects in an enthusiastic flow. Quite deep at times--"It's like two psychiatrists talking," she said after. I left impressed with her honesty and sense of awe, which, in the wrong hands, could be the reasons detractors have a field day. She don't deserve it, even if you can't stick her music. And I'm warning you, don't just take my word on Kate Bush, then say I wasted your fiver -- it is down to taste, but if you've got any feelings, or just like music, have a go. It's about the only music I like that I can't dance to.

So, Kate, do you think your audience is restricted by these prejudices against you?

"Yeah, I think I'm conscious of people doing that in certain areas, because of the way they've seen me, and I think that's inevitable. I don't blame them. It's really good for me to speak to other magazines."

It'd be good if people could see that you're doing stuff that's pretty new, too. You could never mistake Kate Bush for anyone else.

"Oh, great. I'd like to think that, but it's not for me to say. When you first come out, people say you're the new thing. then when you've been around for two or three years you become old hat, and they want to sweep you under the carpet as being MOR, which I don't feel I am from the artistic point of view. It doesn't feel like MOR to me at all, although I wouldn't call it Punk! Sometimes it's not even rock...I don't know, I think it's wrong to put labels on music. Even Punk, that's really just a label for convenience--it covers so many areas. I think sometimes it can actually kill people, being put under labels. I think it's something that shouldn't be encouraged. If people could just accept music as music and people as people, without having to compare them to other things...which is something we instinctively try to do."

The way you're presented in the press could alienate some people, I s'pose.

"Don't you think any form of publicity alienates the person who is not involved in it? I think that's part of the whole process. That's why I feel that the good thing about albums and gigs and even radio is that you are directly communicating with your audience, but with papers and appearances on TV you're not really relating directly."

Does the bad criticism hurt you?

"No, I don't get hurt. I've read a few reviews of the album, an some of them really couldn't stand me, probably much more than the album. In fact, one guy didn't like me so much, he had to write four columns of 'I can't stand Bush!' That's cool. Sometimes I find it funny. I think a bad review is a good omen in some papers."

At least that's a positive reaction.

"Yeah, if they really hate you, it's just as good as really liking you. You're really getting under their skin so much that they've got to speak about it. That's great!"

And the album still came in at number one.

"I can't believe it, still. Every time I tell someone I feel like I'm lying. I couldn't have asked more for such an important step in what I'm doing, because I feel that this album is a new step for me. The other two albums are so far away that they're not true. They really aren't me anymore. I think this is something the public could try and open up about. When you stereotype artists you always expect a certain kind of sound.

IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: Andy Phillips

"I'd really like to be able to leave myself open to any form of music, so if I wanted to, I could do funk tracks on the next album, I could do classical, I could do bossa novas. I think it's best to stay as open as you can. As a person I'm changing all the time, and the first album is very much like a diary of me at that time--I was into a very high range. The same with the second album, and I feel this is perhaps why this one is like starting again. It's like the first album on a new level. It's much more under control."

You took a long time doing it. [You think that one took a long time!]

"Yeah, it did. It took a lot of work, but it was very beautiful work because it's so involving and it's so like emotions. It's totally unpredictable and you can fall in love with it or you can hate it or if you want to you can ignore it: you know, all the things that you can do with people."

That's one of the main things I like about the music--the emotions running around.

"I think everyone is emotional, and I think a lot of people are afraid of being so. They feel that it's vulnerable. Myself, I feel that it's the key to everything, and that the more you can find out about your emotions the better. Some of the things that come into your head can be a surprise when you're thinking."

The next single is Army Dreamers, which sounds like a wistful little waltz-time ditty on first hearing, though a bit sombre. Kate adopts a lilting Irish accent--all very nice. But listen to the words and she's mourning her dead son, killed in the army. I thought Kate was singing about Northern Ireland, but not necessarily...

"It's not actually directed at Ireland. It's included, but it's much more embracing the whole European thing. That's why it says BFPO in the first chorus, to try and broaden it away from Ireland."

What about the Irish accent?

"The Irish accent was important because the treatment of the song is very traditional, and the Irish would always use their songs to tell stories, it's the traditional way. There's something about an Irish accent that's very vulnerable, very poetic, and so by singing it in an Irish accent it comes across in a different way. But the song was meant to cover areas like Germany, especially with the kids that get killed in manoeuvres, not even in action. It doesn't get brought out much, but it happens a lot. I'm not slagging off the Army, it's just so sad that there are kids who have no O-levels and nothing to do but become soldiers, and it's not really what they want. That's what frightens me”.

The final interview I will source from is from Record Mirror. Mike Nicholls spoke with Bush. This interview is interesting, as it is more about her work and career. It was conducted around the time of Never for Ever, but this deep chat gives us a wider look at Bush’s work ethic and career:

“And work is your God?

"It is, really, yes, as everything in my life goes into my music. Everything that happens to me affects me, and it comes out in my music. If I did become perfect, and was no longer vulnerable, perhaps I wouldn't get the same shocks of emotion that make me want to write."

So while philosophers and related beings have for centuries been ruminating about how to attain perfectability, Kate Bush, still a baby at twenty-two, has decided this is the very thing that ought to be bypassed. Heavy stuff, huh? Then again, she wasn't exactly brought up in a lightweight atmosphere.

Since our last rendezvous at the beginning of the year, I'd heard that her father and brothers, ostensibly the greatest influences in her family-orientated life, were great believers in the Russian "magician" George Ivanovitch Gurdjieff. Thinking it might assist our dialogue, I spent some time before the interview swotting up on the guy, who in the early part of this century ran a school for wealthy mystics, that preached stuff like "We had better torture our own spirit than suffer the inanities of calm," and "Any unusual effort has the effect of shaking the mind awake."

Now there seems to be a certain amout of overlap between these observations and Kate's remarks about "shocks of emotion", but, perhaps fortunately for your good selves, she didn't seem into having a protracted natter about G. I. Gurdjieff (classic initials, what?)

Besides, it wouldn't entirely have suited the circumstances of our discourse. On a marginally sunny day, it seemed absurd to be cooped up inside some dusty office at EMI, particularly when outside their West One premises there is a little park. Now you might think that in talking to Kate Busdh in central London one runs the risk of attracting inquisitive stares from God knows how many passersby--especially when, during a photo-session on the same piece of greenery last year, Cliff Richard was besieged by scores of drooling school-kids.

But rate-payers (no quips about EMI's ability to retain this status, thank you very much) are allocated a key to the gardens, so Kate and I spent a chatty couple of hours locked within these leavy confines, and I was too much a gentleman to throw away the key.

Since the interview was for promotional purposes, it was hardly surprising that she was happiest talking about the new songs. And because these are the latest instalment of her life, questions were answered conscientiously and, of course, enthusiastically. With promotion being an extension of her work and hence her life, etc., it was illuminating to see how she handled interruptions to it. These came first from a couple of scruffy pubescents who athletically scaled the spiky railings to see if she really was who they thought she was, and then from a slightly lunched-looking gardener who reckoned it was us that had done the climbing.

Kate dealt with both in untypically peremptory fashion, even though in retrospect the distractions added a little light to the generally serious, if nonetheless enjoyable, shade of the proceedings.

Light and dark, good and bad. Both types of emotions flow out of Kate Bush and into her songs. Visually, it's all there on the sleeve of Never For Ever. Nick Price's Hieronymus Bosch-style cover shows a confused mass of bats and swans. The latter symbolise good, and on their backs ride the bad--all of them billowing out of Kate's dress, which is handsomely decorated with the clouds of her imagination.

The good emotions have produced songs like All We Ever Look For and Blow Away-- the one about liveing for music and being naively optimistic about death. The idea is that when she (or the musician she is purportedly singing about) dies, he will go and join all the other musicians in the sky. Hence, references to Keith Moon, Sid, Buddy Holly and even Minnie Riperton, who died around the time the song was being conceived.

It was based on an article she read in the Observer about people who had temporarily "died" through cardiac arrests. Apparently several members of the public interviewed about this experience reckoned they felt their spirits leave their bodies and go through a door, where they were re-acquainted with dead friends and relatives. When their hearts were resuscitated, it was almost with reluctance that they stepped back out of the room and returned to their bodies.

"So there's comfort for the guy in my band," Kate explains, "as when he dies, he'll go 'Hi, Jimi!' It's very tongue-in-cheek, but it's a great thought that if a musician dies, his soul will join all the other musicians' and a poet will join all the Dylan Thomases and all that."

Hmmmm. The darker side of her emotions shows the lady as down-to-earth as her surname befits. In fact, it's more than realistic: it's downright sinister. Hence The Wedding List and its obsession with revenge.

What happens here is that at the point two people are about to be married, the bridegroom gets shot. Who by is irrelevant, but the bride's need for vengeance is so powerful that all she thinks about is getting even with the villain. Since his death is the best wedding gift she could have, he goes right to the top of the (wedding) list. 

"Revenge is a terrible power, and the idea is to show that it's so strong that even at such a tragic time it's all she can think about. I find the whole aggression of human beings fascinating--how we are suddenly whipped up to such an extent that we can't see anything except that. Did you see the film Deathwish, and the way the audience reacted evey time a mugger got shot? Terrible--though I cheered, myself."

Another film Kate saw recently was the highly publicised Elephant Man, which, though directed by loony humourist Mel Brooks (Blazing Saddles, and History of the World Part I), is ultimately a tragic movie. [Both Nicholls and Kate were mistaken on this point. The film was directed by David Lynch (Eraserhead, Dune, Blue Velvet). Mel Brooks merely produced Elephant Man, mainly because he was able to cast his wife, Anne Bancroft,in a leading role. Given Kate' increasing involvement in the craft and business of film direction since the time of this interview, however, it's unlikely that she still retains this misconception.] Ever ready to seek out the introspective angle, she philosophises as follows:

"I thought, 'How weird for a comedian to do such a serious film,' but if you think of the syndrome of the comedian who is hilarious onstage but really manic-depressive at home, it figures."

Of the few artists in her field whom she has met [Few?], she cites Peter Gabriel as one who is able to separate his public and private personas.

"Offstage he's very normal, and that's the kind of thing I believe in." Kate helped out with the backing vocals on his excellent recent album, and describes the experience of walking into someone else's work as "lovely--especially after the pressure of going out under your own name.

"I was thrilled to do it, and it's not often that I meet people in the same position that I can relate to. It' not like relating to people at EMI, as they're on a completely different side of the fence".

Because the wonderful Never for Ever is forty-three on 8th September, I am wrapping up my Kate Bush feature with a few great interviews. I hope that people explore the album and spend some time with it. The first time Bush had real input into the production, you can hear develop musically and lyrically (and vocally) from Lionheart and The Kick Inside (1978). From the weird and wonderful to the political, right through to impassioned and heart-stopping, Never for Ever is…

A wonderful thing to behold.

FEATURE: Frances Farmer Will Have Her Revenge on Seattle: Nirvana’s In Utero at Thirty

FEATURE:

 

 

Frances Farmer Will Have Her Revenge on Seattle

Nirvana’s In Utero at Thirty

_________

ARGUABLY the greatest album from…

 IN THIS PHOTO: Nirvana pictured in 1993 (from left): Kurt Cobain, Krist Novoselic and Dave Grohl./PHOTO CREDT: Anton Corbijn

the legendary Nirvana, their third and final studio album was released on 21st September, 1993. In Utero was the Washington icons returning to a more lo-fi and rawer sound following the more commercial tones of Nevermind. Not that the seminal Nevermind lacked grit and Grunge roots. It was very much that…but I think Nirvana were keen to have a more abrasive sound. One that was similar to their 1989 debut, Bleach. Released under a year before Kurt Cobain took his own life, you can feel a combination of that debut urgency with Cobain’s scars all over the album. There is some melody and moments of relative quiet on the album, though it is those captivatingly raw moments. Cobain claimed that the album was impersonal – though one cannot help reading into the lyrics and applying them to him. Alongside bandmates Dave Grohl and Krist Novoselic, In Utero was recorded with producer Steve Albini over two weeks in February 1993 at Pachyderm Studio in Cannon Falls, Minnesota. A major commercial success, that combination between complex songs but a direct and potent sound meant that it resonate with diehards and newer fans alike. One might have suspected those who loved Nevermind to balk at the idea that an anticipated follow-up would keep very few elements from that album. Maybe annoyed and tired of the exposure and new fame, In Utero seems like a very deliberate attempt to make something non-commercial. Few radio-friendly single options. Although nothing as masterful and iconic as Smells Like Teen Spirit exists on In Utero, there are more than a few Nirvana classics on 1993’s In Utero – including Heart-Shaped Box, Frances Farmer Will Have Her Revenge on Seattle and Pennyroyal Tea.

To mark thirty years of a classic, there is an anniversary release coming. The Line of Best Fit provide details of an exciting release that is going to be a must for all Nirvana fans!

“In Utero went on to mark Nirvana’s first number debut on the Billboard 200 and has since been certified 6x platinum in the United States. Geffen/UMe commemorates the 30th anniversary of the album with several multi-format reissues.

The three Super Deluxe Edition releases comprise a total of 72 tracks with 53 previously unreleased tracks. Among the unreleased material, two full In Utero-era concerts, namely Live In Los Angeles (1993) and the band’s final Seattle performance, Live In Seattle (1994), are included in addition to six bonus live tracks from Rome, Springfield, and New York.

Seattle producer and engineer Jack Endino — who helmed the band’s 1988 debut Bleach —reconstructed the live tracks from stereo soundboard tapes for this year’s reissue. Additionally, In Utero’s original twelve songs, along with five bonus tracks and B-sides, have been newly remastered from the original analog master stereo tapes by Bob Weston at Chicago Mastering Services, who assisted Albini as the only other engineer at the original sessions.

The physical Super Deluxe Edition box sets also boast a removable front-cover acrylic panel with the album’s iconic Angel; a 48-page hardcover book with unreleased photos; a 20-page newly designed fanzine; a Los Angeles tour poster lithograph by hot rod artist Coop; replicas of the 1993 record store promo Angel mobile, three gig fliers, two ticket stubs for Los Angeles and Seattle, an All-Access tour laminate, and four cloth sticky tour backstage passes: Press, Photo, After Show, and Local Crew.

JUST ANNOUNCED | Nirvana - In Utero (30th Anniversary): Super Deluxe Editions

Celebrating 30 years of Nirvana's final studio album In Utero. Newly remastered and now available on a range of super deluxe editions!

Pre-order now >> https://t.co/bfLhrQG5O6@Nirvana | @Polydor pic.twitter.com/DAMcNsQetW

— Recordstore.co.uk (@recordstore) September 5, 2023

Originally released September 21, 1993, the band recorded the album over the course of six days in February 1993 at Pachyderm Studio in Cannon Falls, MN with Steve Albini. In Utero's unadorned sonic rawness was received by critics and fans with equal measures of shock and elation, as Albini's recording laid bare every primal nuance of the most confrontational yet vulnerable material Kurt Cobain, Krist Novoselic and Dave Grohl would ever record.

With its 1991 predecessor Nevermind having sold some 30 million copies and causing a seismic pop cultural shift, In Utero was essentially the first record Nirvana would make with any expectations from the public.

In Utero: 30th Anniversary is set for release on 27 October via Geffen/UMe Records, and is available to pre-order now”.

I am going to end with a couple of reviews for the album. The second concerns the twentieth anniversary edition of In Utero. There is a great track by track guide that is worth checking out. I wanted to start out with an article from The Guardian. Looking back at In Utero in 2013, they highlighted how it was so influential still after twenty years. The band’s legacy is huge. I can hear many artists in 2023 taking to heart the sounds and reverberations of Nirvana’s 1993 masterpiece:

“Nirvana never set out to change the world. In 1991, they were a promising punk-rock band from Washington State with a debut major-label album that might, with luck, sell in the six figures. Then MTV started rinsing Smells Like Teen Spirit, Nevermind unseated Michael Jackson's Dangerous from the top of the Billboard chart, and Kurt Cobain became the reluctant poster boy of a new sound – grunge. "The first thing we did when Nevermind went huge is cancel everything and go into hiding," recalls Grohl. "U2 and Guns N' Roses wanted us to tour with them, Lollapalooza wanted us to headline. All these offers, and we thought, 'Let's just go home and take the ball with us.' Like, game over."

Nirvana's musical response was In Utero. In defiance of their label, Geffen, they called upon the production talents of Steve Albini, alternative rock firebrand behind acerbic noise groups Big Black and Rapeman. Instead of radio-friendly unit shifters, there was a song sarcastically titled Radio Friendly Unit Shifter, smothered in squalling feedback. Cobain's songs touched on fatherhood (Milk It, Scentless Apprentice) and feminism (Frances Farmer Will Have Her Revenge On Seattle, a fantasy of cosmic vengeance for a 1940s actress subjected to brutal mistreatment while incarcerated in an asylum). But it also dwelt on the gynaecological and the diseased: see the sickly-sweet Heart-Shaped Box, with its cancerous growths, carnivorous orchids and "umbilical noose". Occasionally, the album's bluntness still alarms.

It's hard to draw much holy wisdom from In Utero's tumult of anger, black humour, principle, guilt and confusion. "Nirvana were conflicted," says Novoselic. "We cut our teeth on 1980s American hardcore – intense and political music about independence from the state, independence from corporations. We were appalled by the first Iraq war, the jingoism, the petty nationalism. But at the same time we signed a record deal with Geffen, a subsidiary of this Japanese industrial electronics company. Bands like Pavement and Fugazi remained fiercely independent. We had punk-rock values, but we signed those papers. I can't sit here and give you the spiel about independence, especially knowing [Fugazi's] Ian MacKaye. I could never face them again."

From their major label vantage point, though, Nirvana reached an audience their indie peers could only dream of. "We meant a lot of different things to a lot of different people," says Grohl. "That's one of the great things about music. You can sing a song to 85,000 people and they'll sing it back for 85,000 different reasons." Ever upbeat, Grohl is optimistic about the current state of rock, thrilled to hear young bands still cite Nirvana as an influence. "We were real and visceral, fucked-up and ugly. That was what people were craving. And that will never go away. There's a band in a garage right now writing songs for an album that will do the same thing Nevermind did some 20 years ago. We don't know who and where, but it will fucking happen again. All it takes is for that storm to break."

More so than Nevermind, In Utero pointed underground – to alternative rock and the punk feminism of riot grrrl. But its influence spread outwards, too. Liam Howlett heard the gnarly riff of Very Ape, the two-minute blast that kicked off side two, and sampled it for the Prodigy's 1994 single Voodoo People. Following his death, Kurt became a lyrical namedrop for rappers from 2Pac to 50 Cent to Jay-Z, who evidently found something relatable in this nihilistic rock star and his tale of drugs, guns and untimely death. Grunge was supplanted in the marketplace by nu-metal, but Limp Bizkit's Fred Durst described Kurt as "an inspiration". And when the next Voice Of A Generation came along, you couldn't help but look at Marshall Mathers, a bleach-blond Molotov of rage, and spy something faintly familiar”.

There are a lot of other features about the album. Some dislike it because they feel it is inaccessible and far too hit and miss. Others expecting something similar to the sound of Nevermind were never accepting of something that is nothing like it. Regardless of personal feelings, one cannot deny that In Utero was a massive critical and commercial success. One of the greatest albums ever (from a band who managed to release two classics in their brief careers). I want to go to The Boar, as they wrote a retrospective last month. Thirty years on, and In Utero remains such a powerful statement:

“But to look back at In Utero, whether after three or thirty years, one can’t help but see the eerie disconnect between the album’s name and the tragedy that transpired shortly after the album’s release. In Utero seems to foreshadow that tragedy. Yet, that story has been told, its sombre light cast again and again upon those events of the early Nineties – in short, it is far too easy to employ this form of historical revisionism. Thirty years ago, Cobain was alive, his artistry evolving, and Nirvana were the mainstream (whether they liked it or not). In Utero was the product of this, and now, thirty years later, it is an artefact of its time, hailed for its vision and authenticity.

But the legacy of In Utero can only be understood in relation to its predecessors.

If Bleach, Nirvana’s 1989 debut LP by independent champions Sub Pop, was just a drop in the ocean of music success, with its sludgy Seattle sound tapping almost exclusively into the underground punk scene to which Nirvana was adjacent, then 1991’s Nevermind was a tidal wave.

Chewing up and spitting out the status quo, leaving it unrecognisable, is a feat that very few albums have achieved. But Nevermind, with all of its contradictory prowess, as an album that is equal parts Beatles as it is Black Flag, made by a DIY band with the backing of major label DGC, did just that. Selling more than 30 million copies worldwide, Nirvana were no longer toeing the line between the underground and the mainstream – they had stormed straight across it. Nevermind had made them icons, and in doing so a grunge gold rush had begun as record labels turned over every stone in Seattle seeking their own musical goldmines. Soundgarden, Alice in Chains, Pearl Jam – the underground had been unearthed.

But for righteous punk rockers, this was not a good thing. To them, Nirvana had ‘sold out.’ After all, Nevermind was a polished record, produced with the help of a major label, and promoted by the mainstream’s weapon of choice: MTV. Aware of this, Cobain sought to fortify his punk-rock credentials and from out of this storm, In Utero was born.

In recruiting the producer, Steve Albini (Pixies, The Breeders), the very DNA of In Utero was determined to be read as both punk and entirely distinct from the bubble-gum-sweet sounds of Nevermind. Working quickly, recording was completed in six days, with most tracks recorded live. Mixing took a further five days – quick by Nirvana’s standards, slow by Albini’s. The result? A raw record that was almost the antithesis of Nevermind – leaving DGC Records with a slightly sour taste in their mouths.

Although a compromise was forced between the band and DGC, with Scott Litt (R.E.M) being bought on board to remix the record in a more radio-friendly way, it is within the authentic producing and mixing process that the artistic charm of In Utero resides. ‘Of course,’ said Cobain, ‘they want another Nevermind, but I’d rather die than do that.’

Of frenzied intensity yet understated fragility, art and aggression, In Utero is a lesson in true disorder. Rockstar angst replaces teenage angst, and the mainstream is met with a sardonic grin as Cobain pushes against their mild inclinations. ‘Scentless Apprentice’ frames the abrasive direction the band had been moving towards, as visceral screams are aggravated by disturbing lyrics and darker basslines. Grohl is animalistic and, in parts, apoplectic, exhibiting his deftness behind the drum kit. ‘Rape Me,’ controversial for its fiercely feminist overtones, channels authentic rage, while ‘Pennyroyal Tea’ crescendos into choral fury in essential Nirvana fashion.

But buried inside this hysteria is soft reflection. There is almost a brittleness to the record, like glass, or old bones; with no way of relieving the intense pressure of some tracks, others show the cracks. ‘I’m not like them, but I can pretend,’ ‘Dumb’ is a bleak lullaby. ‘All Apologies’ is confession. By providing listeners with a place of refuge, with more soothing rhythms, the discomfort of the record can be keenly felt. Although docile in comparison, and considered to be ‘gateways’ to the more alternative sounds on the record by bassist Novoselic, these songs are no less dark.

In fact, no song is devoid of the themes of sickness and care, life and death. From the umbilical nooses of ‘Heart Shaped Box,’ to the parasitical pets of ‘Milk It,’ unease is the primary essence of In Utero. While this feeling is worsened retrospectively, with our knowledge of Cobain’s death just months later, not even Cobain’s claim that the record is impersonal, nor the fact that several songs were written as early as 1990, is able to dispel such discomfort. The songs, at best, are unsettling, at worst, plain ugly.

But in spite of this ugliness, or rather because of it, In Utero, thirty years on, is hauntingly beautiful. ‘This is exactly the kind of record I would buy as a fan, that I would enjoy owning,’ said Cobain. Millions agree: In Utero debuted at number one in the UK and the US. In 2011, a poll run by The Guardian saw In Utero ranked as Nirvana’s greatest album. Through its corrosive authenticity, In Utero exists as pure art. Through its unsettling essence, In Utero captivates.

Bleach is a diamond in the rough, Nevermind the crown jewel. As for In Utero? Well, take the crown jewel and smash it into smithereens. While for some the remaining crystallites will be invisible and invaluable, for those that know where to look, they will be cherished for their beauty amidst the destruction”.

I am going to end with some reviews. The first one, from Kerrang!, was a 2020 article where they revisited their original 1993 review. Epochal, epic and hugely moving, I don’t think anyone was quite expecting In Utero or knew how it could possible follow Nevermind:

“You can almost taste it. The anticipation. Another Nevermind? Kurt Cobain's descent into fear, self-loathing and unholy noise? Neither, really.

The title says a lot. Nirvana have withdrawn and headed womb-ward to dodge the general bullshit that's tracked ’em ever since they hit multi-Platinum pay-dirt.

A couple more spins of In Utero, and it becomes even clearer: this ain't no piece-o’-shit stab at punk rock non-conformity. This is Nirvana making the kind of record they want to make. On their own terms.

Following the controversy of Albini-gate – the bizarre episode where producer Steve Albini's kiss-and-tell confessions suggested that the band were bowing to record company pressure – In Utero emerges as a subtly ironic and cathartic record, shaving the territory between the band's formative Bleach platter and its groundbreaking successor, Nevermind.

The rougher, Bleach-styled material is the most vitriolic, with Kurt's fuzzbox set on stun, his lyrical barbs personalised and sharpened. When he chortles 'One more solo?' on album closer Gallons Of Rubbing Alcohol Flow Through The Strip, the track and the album implode in a two-fingered salute of defiance. Radio Friendly Unit Shifter further sums up Kurt's challenging mood as he snarls, 'I love you for what I am not, I do not want what I have got', swiping at the bitter irony of multi-Platinum success against a backdrop of Sonic Youth-styled six-string abuse.

Despite the twists of gratuitous Punk-oid anger that Kurt inflicts throughout the 13 tracks on offer, on the current single Heart-Shaped Box, the sublime All Apologies (a likely candidate for a 45), and the convalescent croon of Penny Royal Tea, he re-stakes his claim as one of his generation's most absorbing songsmiths. The former pair (which benefit from additional engineering from Scott Litt) are Nirvana’s most commercial moments, with all three hinting at the possibilities that lie ahead.

Elsewhere, the triumvirate of Kurt, bass lank Krist Novoselic and traps-tapper Dave Grohl nod ironically at their unwitting former glories. Kurt kickstarts Rape Me with a familiar and doubtlessly intended …Teen Spirit shuffle, while Dumb has an infectious Come As You Are feel. Both ripple with Kurt's poignant observations, allowing fleeting glimpses at his anger and frustration without ever resorting to the trite and obvious.

The heaviest moments bubble up on the metallised canter of Tourette's, the searing Milk It, and the winsome Frances Farmer…, all of which have a familiar, lived-in feel. In fact, it's this kind of immediate intimacy which makes In Utero such a passion-filled ride.

If anything, after all the irritating speculation, the whole affair hollers defiantly. You can almost sense the relief at the band's discovery that they can still pick up the tools of their trade and play. Sure, it won't reach the heady heights of its predecessor, but who gives a shit about sinful sales figures? This is the sound of absolution”.

IN THIS PHOTO: Nirvana in 1993/PHOTO CREDIT: Renaud Monfourny

I will end with Pitchfork and their 2013 review. With the twentieth anniversary release out there, they had a perfect opportunity to give a perfect score to an album that shook the world when it came out on 21st  September, 1993. In Utero still moves me now (and I have heard it so many times):

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

While Kurt Cobain famously used the liner notes for 1992 rarities compilation Incesticide to call out the jocks, racists, and homophobes in Nirvana’s ever-expanding audience, In Utero promised a more aggressively hands-on process of weeding out the mooks, a concerted effort to realign Nirvana with the artists they actually listened to and away from those they were credited with spawning. And where the album’s title would reflect Cobain’s lyrical yearning for a back-to-the-womb retreat from celebrity scrutiny, it also proved emblematic of the record's messy birth: A by-all-reports harmonious two-week quickie session with recording engineer Steve Albini in a rural Minnesota studio would lead to months of acrimonious exchanges in the press among the band, DGC, and Albini over the purportedly unlistenable nature of the results, requests for cleaner mixes, and cruddy cassette copies leaked to radio that falsely reinforced the label’s misgivings. (The second-guessing circumstances were not that dissimilar to those of the preceding Nevermind-- wherein Butch Vig's original recordings were eventually handed over to Andy Wallace for a platinum-plated finish-- only this time, the outcome had the potential to affect Geffen's share price.)

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

The second version of In Utero came to be on April 8, 1994, from which point the album would be forever known as the rough draft for rock‘n’roll’s most famous suicide note. In the wake of Cobain’s shotgunned sign-off, it became nigh impossible to hear In Utero in any other context. The infamous album-opening lyric that once dripped with sarcasm-- “Teenage angst has paid off well/ Now I’m bored and old”-- now sounded coldly nihilistic. Where the seismic stomper “Scentless Apprentice” invoked Patrick Süskind’s novel Perfume as metaphor for Cobain’s festering disgust with the music press and industry, the song’s grueling shriek of “get awwwwwaaaayyyy” suddenly seemed to be directed at humanity itself. The “Leonard Cohen after-world” fantasy of “Pennyroyal Tea” turned into wish fulfillment; “All Apologies” ceased to be an innocently plaintive pop song and was instead permanently etched into its writer's epitaph.

But with this two-disc 20th-anniversary reissue, we now have a third version of In Utero, and I’m not just referring to the newly remixed iteration of the album. Taken as a whole, the package-- which also includes a remastered version of the original mix, B-sides, outtakes, a slew of embryonic demos, and a cheeky but affecting liner-note essay by comedian/tourmate Bobcat Goldthwait-- puts lie to the notion that In Utero is the soundtrack to a suicide, commercial or otherwise. In charting the songs’ evolution from rough instrumentals to the militaristic blasts of fury heard on the album proper, and through the outré experiments scrapped along the way, we hear a band that was on the cusp of an intriguing new phase.

In a surprisingly conciliatory Musique Plus interview conducted just prior to the album’s release, Cobain stated that In Utero would mark the end of Nirvana as grunge torchbearers and, throughout the record, the band screech and howl like they're skinning themselves alive to expedite their reinvention. But not a lyric goes by on the album where Cobain doesn’t sound conflicted between what he wants to do and what he feels he has to do. The scowling verses of “Serve the Servants” are countered by the chorus’ soothing incantation of the song’s title, as if Cobain had to anesthetize himself in order to answer his audience’s populist demands. You didn’t need to hear the feedback assault of “Radio Friendly Unit Shifter” to sense the irony reeking from its title, while the sludgy savagery of “Milk It” deploys Cobain’s fascinations with bodily fluids and birthing to depict a soul being run through the music-industry wringer. Though Cobain claimed in the aforementioned interview that the deliberately bald language of “Rape Me” was his response to misinterpretations of Nirvana’s more ambiguous portraits of sexual/power dynamics (“Polly”, “About a Girl”), the fact that it cops the riff to his most famous song unsubtly directs the titular demand to his hit-seeking minders; when he answers his request by repeating “I’m not the only one,” he seems to be placating himself with the knowledge that he’s not the first punk-rocker caught in a boardroom power play. (And, in light of Cobain’s mounting disdain for the media, I can’t be the only person who’s always heard that line in “All Apologies” as “choking on the ashes of her NME”.

On 21st September, we will mark thirty years of Nirvana’s In Utero. Sadly the final album from the band, it cemented their place as Grunge godfathers and legends. The fact that, as we can see on Wikipedia, In Utero has been placed so high on critical lists speaks for itself:

“In 2004, Blender named In Utero the 94th greatest American album, and in 2005, Spin named it the 51st best album of the previous 20 years. In 2005, In Utero was ranked number 358 in Rock Hard's book of The 500 Greatest Rock & Metal Albums of All Time. In 2013, Diffuser.fm named In Utero the fourth best album of 1993, while NME ranked it at number 35 on its list "The 500 Greatest Albums of All Time". The album was also included in the book 1001 Albums You Must Hear Before You Die. In May 2017, Loudwire ranked it at number six on its list "The 30 Best Grunge Albums of All Time". In April 2019, Rolling Stone placed it at number eight on its 50 Greatest Grunge Albums list”.

In 1993, In Utero caused a major stir and reaction. Nirvana returning to a rawer musical aesthetic. Wanting to go back to the start. Kurt Cobain’s lyrics were at their very peak. Pachyderm Studio in Cannon Falls, Minnesota had not heard or seen anything like Nirvana in 1993. Maybe they didn’t after. It is an album that will be discussed for decades to come. I was keen, thirty years on, to show my respect and love to…

A truly remarkable album.

FEATURE: Spotlight: Laufey

FEATURE:

 

 

Spotlight

Laufey

_________

A must-hear artist…

 PHOTO CREDIT: Burak Cingi for The Line of Best Fit

who is busy with tour commitments for the rest of the year, I would advise everyone to check out Laufey. She is amazing. Her debut album, Everything I Know About Love, was released last year to critical acclaim. Her new E.P., California and Me, came out last month. I want to bring together a few interviews – starting from 2021 and working to a very recent one – so that we can get a better impression of Laufey. I am going to start with an interview from 2021. The Line of Best Fit highlighted an artist who was on the rise and being talked about as a sensational artist to watch closely:

“Since releasing her debut single “Street By Street” - as the world went into lockdown in the spring of 2020 - rising musician Laufey Lin has amassed a vast following on social media and already collaborated with some bucket-list musical heroes through official releases and videos online.

“I need seasons,” she laughs as she tells me about her recent move to LA. We catch up over coffee in London while she’s in town to perform a mesmerising set at the Southbank Centre as part of London’s Jazz Festival, which she’s anticipating to be a career high. “It definitely feels like a big moment, I got to go to my first fitting for a show, with Paul Smith, which was a really surreal movie moment. I felt like the whole time there was montage music playing and I felt like I was having a makeover in a film.”

Between rehearsals, fittings and promo, 21-year old Laufey’s been hanging out with her twin sister, who’s been studying in Scotland, and her mother who joined them from Washington D.C. “I feel so comfortable here and when I’m walking around London,” she tells me.

Laufey’s journey to the Jazz Festival stage and beyond begins at home in Iceland with a gift: “One of my earliest memories is receiving a violin for the first time, from my grandfather, who was a violin professor,” she recalls, “it was basically like a toy instrument but I remember my mom teaching me the simplest things, and practising with my sister.”

PHOTO CREDIT: Burak Cingi

Music is in her blood – Laufey's mother is a classical musician who performed with the Icelandic Symphony Orchestra. “Iceland is really cool because the music scene is so small, everything kind of mixes together,” she explains. “The classical musicians are playing and the pop gigs and pop musicians are doing things with classical musicians, so I grew up going to classical symphony concerts, but then I'd also go to rock gigs where my mom was playing violin.”

Seeing this free-form musicality inspired Laufey to not put limits on her own exploration of sound, when she first came to realise “it’s a very cool thing to mix genres,” and that’s her vision for the future too. “That's how music is going to move forward, especially classical and jazz,” she adds, how “these styles that are kind of at risk of being extinct” need to develop and evolve.

Picking up the piano at four years old, before falling in love with the cello at eight she was on the classical, pre-professional track to a conservatory education before she decided to take a step back and really think about which path to take. Raised on Ella Fitzgerald and Nat King Cole, thanks to her father’s love of jazz, Laufey remembers listening to it growing up and loving how these artists combined elements of jazz with classical and pop too.

“I think growing up in Iceland, it was secluded and you kind of grow up as a dreamer with this idea for wanderlust… Dreaming of life in a different country or whatnot and I think that all went along with this magical music, so I started singing and teaching myself jazz piano and I found myself instead of going to classical conservatory, I ended up going to Berkeley, which is primarily a jazz school.”

This was by no means an easy decision to make, Laufey describes the process like an ultimatum, “it really felt like I was choosing whether I was going to be a classical musician for the rest of my life, or if I was going to try my hand at pop music.”

Offering the best of both worlds Berkeley gave her the opportunity to not only study from all factions of music which she adored, so naturally she started making her own, ‘I found that I could bring all these worlds together on my own with my own songwriting,” she says and in her second year she shared her first single with the world.

“Something had clicked for the first time and I’d found my producer, he just lived across from my dorm, he was in a barbershop quartet so I knew he liked harmonies and understood what I wanted to do,” she explains. There was only one thing which almost stood in her way, the pandemic. Racing to get “Street By Street” recorded before there was a mass exodus off campus Laufey left it until the very final moment. “I was like if I don’t record this now, I never will, so on literally the last day on campus while my mom and sister were packing up my dorm room, I was in Davin’s room [producer Davin Kingston] recording this song and thank god we did it because it started this magical journey.”

PHOTO CREDIT: Burak Cingi

With school moving online, Laufey was able to power through classes at an extremely efficient pace so after some extra summer classes, she graduated early and to spend more time focusing on her snowballing music career. Her debut EP Typical Of Me followed a year later, in spring 2021, with seven delicately crafted songs. While Laufey’s sound includes elements of classical, jazz, pop and R&B, there are moments where it’s so compellingly vintage that on tracks like the sumptuous “Someone New” it’s only when her lyrics mention Instagram that you’re reminded this isn’t a decades-old classic.

Even her nonchalant admittance about a bad hair day (“it's not your fault it looks like shit”) on the refreshingly honest “Best Friend” barely breaks the cinematic allure especially when she begins scatting over the wistful production. This song made for a very special moment during her London Jazz Festival set as she brought out her twin sister Junia for a violin solo. “I swear I’m living in a movie at this point,” she mused in a TikTok caption for the performance.

At the end of this exciting year at the top of Laufey’s list of highlights is releasing a track with the London Philharmonic Orchestra. “Being in classical music growing up, I've always sought that validation and then to have them reach out to me after the music I've been releasing has not been directly classical music,” she pauses to compose herself, “just being able to collaborate with an orchestra that I've like watched and followed growing up was just really really crazy”.

There is no doubt that Everything I Know About Love was one of the mist impressive debut albums of 2022. It was a remarkable release that introduced me to Laufey. There was a lot of interest around her. I want to come to METAL’s interview with this amazing artist. Someone who is definitely primed for worldwide domination:

“Your music itself is already quite intimate, and with social media, we get to see the behind-the-scenes process of your songs. How do you think social media adds to that intimacy between you and your fans?

I think that social media is such a blessing in the way that I get to connect to my fans directly. I love answering messages and comments and giving advice and receiving advice from them. I share a lot of my life on social media in hopes that it brings visual context to my music and writing!

Now, let’s dive into your music. You draw inspiration from jazz, pop and classical music, which are all very different genres. How do you navigate these three very distinct sounds in your own work? Do you ever feel pressure to conform to one genre of music?

I’m not even sure how to navigate them! (laughs). I think they’re all woven so deeply into my musical subconscious that it just comes out somehow. Some days I’ll lean more towards one genre and other days I’ll be more inspired by another – it really depends on what I’m feeling. I don’t feel too much pressure to comfort to any certain style. My fans are so kind and open to whatever I do. It always ends up sounding like a Laufey song because it’s my voice and writing!

On the flip side, do you feel a sense of responsibility to bridge the gap between these genres?

I do feel a sense of responsibility, but I also enjoy it so much. I think that these older styles of music are so beautiful, and I don’t see many young people advocating for them and I have an audience of young people that are willing to listen!

PHOTO CREDIT: Gemma Warren

Recently, you released your debut album, Everything I Know About Love. While each song explores a different sound, from mellow cello features to groovy bossa nova, something that they have in common is they all sound quite mesmerising and dreamy. How do you go about creating these sounds?

I think what gives these songs a dreamy quality is the instrumentation and arrangements that are borrowed from jazz and classical music that aren’t as common in contemporary music. We layered a lot of strings and fun instruments such as harp, bassoon and celesta, and experimented with different textures to create a timeless, cinematic experience

One reason why your music is so attractive is because of how relatable it is. For example, Beautiful Stranger is about developing a crush on a stranger on the train, which I’m sure we’ve all experienced. Where do you draw inspiration from?

I draw all of my inspiration from my own life and experiences! I love to journal about my thoughts, so a lot of my songs are born out of journal entries.

Something I love about your lyricism is that it really situates the listener as the protagonist of a story, bringing us through the ups and downs of romance. What does your writing process look like?

Thank you! That’s truly what I’m trying to do. Before I even write the first lyric, I always know what the song is going to be about – what the message or the title of the song is going to be. That way, I always have a sense of direction.

Your songs are a very honest show of emotion. For example, Fragile really delves into how it feels to miss someone and Falling Behind, while more upbeat, talks about the inevitable feeling of falling behind when everyone around you is getting into relationships. Is it difficult to put yourself out there like that? Or is it liberating?

I’ve always been a very open book and expressive about my thoughts and feelings. I think it’s quite liberating to put my thoughts out there and if anything, it’s quite validating when somebody hears one of my songs and says that they’ve felt the same way before”.

Let’s move things on a little bit. I was interested by an interview from NOTION published in April 2022. They compared Laufey to Billie Holiday and Ella Fitzgerald. The Gen-Z equivalent, such is the power of her voice. It is like a rich and classical instrument. There are a few portion of the interview that caught my eye:

“You released your EP, ‘Typical of Me’ last year. What was the inspiration behind this title?

It’s a phrase I say a lot. ‘Oh, that’s so typical of me,’ you know? Growing up, if I did something that was so typical of me, my mother would say, ‘oh that’s so typical of you, that’s so typical of Laufey.’ It was my first EP, and I was thinking about what all these songs represent. It’s all very honest song-writing, and the way I write is very much the way I talk. I don’t take things too seriously. There is a little bit of humour in everything.

Which song on the EP was the hardest to finish?

It took a while to nail “Magnolia”. Sonically, I wanted it to sound different from the other songs. The other songs were almost like a bedroom sound, but very jazzy. With “Magnolia”, even though it has many jazzy progressions, I wanted it to have a lighter touch. I toyed around with that one for a while, trying to perfect it.

You were raised between two different worlds, Reykjavik and Washington, DC. How would you say your cultural heritage has shaped who you are and the kind of music you create?

I grew up in a world where I would listen to my mother play violin in a classical Iceland symphony concert one day, and then the next day she would be playing a pop concert in a Church. The day after she would be playing in a death-metal group. There is so much mixing of genres. The pop musicians help on classical projects, the classical musicians work on the rock projects. There is so much mixing and matching and genre-bending, which is one of the reasons why I feel like I mix styles so much. I want to take down the walls of genre, because I didn’t grow up in a world where the walls of genre were that high. That’s culturally impacted me –  the mixing of styles and mixing of cultures. I’m half-Chinese, half-Icelandic. Grew up partially in the US. Everything is just mixed up. My music is too.

PHOTO CREDIT: Ryan Williams

Do you find that different cities and cultures bring out different creative sides of you?

Definitely. I stay true to myself, but with every place I travel to, I experience different things, therefore I write about different things. There are people in every city to write about and experience things with.

At what point in your life did you realise that music could be a means of expressing yourself out in the world?

My mother is a classical violinist, so I don’t remember a time without music. I was given a violin when I was two, I started taking piano lessons when I was four, then cello lessons when I was eight. Music was always something I heard around the house. There was always someone practising, or I was backstage at the orchestra at the Iceland Symphony. It was something that was very much in my nature, but in the beginning it was school. It was another class that I took. I finished school, came back home, and practised for an hour or two. It was around the time that I was thirteen or fourteen that I started singing and found that it was a way of expressing myself. It felt really natural to me. I didn’t have to practise it as much as the other instruments.

PHOTO CREDIT: Ryan Williams

What did you learn from your mother as a musician?

Everything. She taught me all of the basics, both on piano and on cello. I have a Chinese mother. She’s a strict musician mom. She instilled in me so much discipline and appreciation for the art. I think that’s what it is – appreciation for music. No matter how hard we practised or drilled, at the end of the night you’d put your instruments away and you’d just enjoy the music. That’s the biggest lesson that my mother taught me.

What do you think you taught her?

I’ve taught her a lot of niche TikTok humour. I’ve taught her a lot of jazz. I’ve taught her to let go of classical rules. That music can be created. The player can also create. That’s the idea.

Are there any classical traditions that you dislike or that you choose to reinvent in your own music?

It’s less so about tradition, but one thing I’m passionate about is changing the snobby air around classical music. There is a certain academic approach to these forms of music which I grew up around and honestly studied within the walls of, which I think are to the detriment of the art”.

I am going to bring things right up to date. NME spotlighted the incredible and incomparable Laufey. This is a name that needs to be on everyone’s radar. Music that, once heard, buckles the knees. Such a stunning and beautiful artist whose music will endure for years to come:

“Last year, she performed with a 55-piece orchestra at Reykjavík’s prestigious Harpa concert hall, the heart of the city’s cultural scene that’s home to the Icelandic Symphony Orchestra and has previously hosted fellow Icelandic natives like Björk and Of Monsters and Men.

Laufey sold out two nights there, performing to crowds that ranged from traditional jazz aficionados to old schoolmates and devoted ‘Lauvers’, as she recently branded her fanbase. She’s since immortalised the career-highlight performances on her recent live album ‘A Night At The Symphony’.

In the online world, meanwhile, she’s built impressive social followings of 2.5 million and 1.1million on TikTok and Instagram, respectively, where she’s caught the eye of the likes of BTS’s V and Billie Eilish, the latter having reposted Laufey’s jazzy spin on her ‘Happier Than Ever’ song ‘My Future’.

Still, it’s her own music that’s generated the biggest buzz, with recent runaway hit ‘From The Start’ blowing up on TikTok and entering Spotify’s Top 50 chart in the US, racking up over 80 million streams on the platform since its May release.

PHOTO CREDIT: Eva Pentel

But it’s not difficult to see why Laufey has attracted so much good fortune on her swift ascent these past few years. One would only have to watch the music video for the title track of her new album to understand her deep commitment to modern-day storytelling that has left so many spellbound. ‘Bewitched’ – which opens with a twinkling classical arrangement courtesy of the London-based Philharmonia Orchestra, and sounds like it’s been plucked right out of the Golden Age of Hollywood – depicts a love story set in London, in which she swoons: “You bewitched me from the first time that you kissed me.”

Like so many of her songs, it bottles up the dizzying feeling of being head over heels for someone. Whether she’s romanticising a fleeting interaction with a stranger on the tube or wistfully reflecting on a past love, Laufey seamlessly blends jazz instrumentals with the kind of diaristic pop lyrics that you might expect to hear from artists like Gracie Abrams or Lizzy McAlpine. These vignettes of her real life are unsurprisingly resonating with listeners at a time where popular social media self-love mantras encourage young people to “be the main character” and “romanticise your life”.

 PHOTO CREDIT: Eva Pentel

“I think love makes everyone really silly,” Laufey says. “I remember the first time I went on a date, we had a glass of wine and we kissed and then I left in the rain, and I remember thinking, ‘Oh my god, it’s really like the movies!’”

The simplicity of the timeless sentiment paired with the nostalgic romanticism of her musical roots has attracted a hugely intergenerational pool of listeners. Her younger fans are swept up by the Disney-esque magic of the songs – music to waltz around the living room on a lazy Sunday morning or plod about a drizzly Notting Hill pretending you’re in a Nora Ephron film. At the same time, older fans are intrigued by a fresh new voice that resembles the music of times gone by.

Much of the charm, though, can be pinpointed to Laufey’s exquisite technical brilliance. Inspired by jazz music legends like Chet Baker and Billie Holiday, Laufey can serenade an audience with deep, pitch perfect vocals while effortlessly rotating between cello, piano and guitar, countless hours of practice stored in her nimble hands.

It’s a unique position to be in for a rising artist – one who looks right at home amongst a grand orchestra, and can also post TikToks with Gen Z-coded captions like: “I made the song ur [sic] going to play at your imaginary wedding to the person you don’t even dare talk to”. For Laufey, that simply underlines the universality of the classical and vocal jazz that she has loved “blindly” for her whole life. “I think it’s this really beautiful middle ground that can bring generations together,” she says.

Laufey, a self-described “huge Swiftie”, also looked to the global pop sensation’s example to help refine her own lyrical fluency. “I think she’s one of my biggest songwriting inspirations, and the way that she’s managed to reinvent herself, and stay relevant, and still so poised and speak her mind, is really just remarkable,” Laufey says.

It’s also helpful that she has plenty of musical peers to inspire her, too, having bonded with NME’s inaugural The Cover star D4vd over their similar music tastes. “I had heard his music all over TikTok, and I was like, ‘This kid is so talented’,” she recalls. She reached out online only to find that he had already messaged her a few months prior, which led to their cinematic duet on ‘This Is How It Feels’ from D4vd’s recent EP ‘Petals To Thorns’”.

If you have not checked out the amazing music of Laufey, then make sure that you do. Such a phenomenal artist who is quite rightly being tipped as a future star – although she is one already -, I do hope that she gets to do tour dates in the U.K. It may still be quite early on her career; you can tell nobody in music quite sounds like her. A sound that is  vintage, modern, distinct yet easily accessible, Laufey has crafted and created…

A rare thing.

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Follow Laufey

PHOTO CREDIT: Gemma Warren

Official:

https://www.laufeymusic.com/

Instagram:

https://www.instagram.com/laufey

Twitter:

https://twitter.com/laufey

Spotify:

https://open.spotify.com/artist/7gW0r5CkdEUMm42w9XpyZO

YouTube:

https://www.youtube.com/channel/UChpKl3waLmccNeYH9LGYjUQ

FEATURE: The Digital Mixtape: Huey Lewis & The News’ Sports at Forty: ‘Sport’ Songs

FEATURE:

 

 

The Digital Mixtape

Huey Lewis & The News’ Sports at Forty: ‘Sport’ Songs

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I am using an upcoming album anniversary…

 PHOTO CREDIT: Tima Miroshnichenko/Pexels

to come up with a playlist. The album in question is Huey Lewis & The News’ Sports. Released on 15th September, 1983, I wanted to mark that fortieth anniversary and also use it as an opportunity to compile a sports-themed playlist. I was going to write a feature about the album, as it is definitely one that should be celebrated. Even if you are not a fan of Huey Lewis & The News, you are sure to know one or two songs from the album – Heart and Soul and I Want a New Drug are quire recognisable. Before getting to the playlist, this is what AllMusic said about the classic Sports:

“Picture This found Huey Lewis and the News developing a signature sound, but they truly came into their own on their third album, Sports. It's true that the record holds together better than its predecessors because it has a clear, professional production, but the real key is the songs. Where their previous albums were cluttered with generic filler, nearly every song on Sports has a huge hook. And even if the News aren't bothered by breaking new ground, there's no denying that the craftmanship on Sports is pretty infectious. There's a reason why well over half of the album ("The Heart of Rock & Roll," "Heart and Soul," "I Want a New Drug," "Walking on a Thin Line," "If This Is It") were huge American hit singles -- they have instantly memorable hooks, driven home with economical precision by a tight bar band, who are given just enough polish to make them sound like superstars. And that's just what Sports made them”.

As Sports turns forty on 15th September, below are a selection of songs from artists who mention a sport in the title, or sports-named, or there is a connection to a sports star or athlete (if that is a brief name-check or a song about them). I would encourage people who have not heard the album to give it a listen. As it is coming up for forty, some of the production sounds dated, yet the songs are still fantastic and recognisably the work of Huey Lewis & The News. There is an anniversary release coming too. To honour Sports turning forty, below is a playlist of songs with…

 PHOTO CREDIT: Tima Miroshnichenko/Pexels

SPORT at their heart.