FEATURE: Dr. Feelgood: The Physical and Psychological Nourishment and Benefits of Music

FEATURE:

 

 

Dr. Feelgood

PHOTO CREDIT: Keira Burton/Pexels

 

The Physical and Psychological Nourishment and Benefits of Music

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GIVEN what is going on…

 PHOTO CREDIT: Kelly/Pexels

in the world around us, it seems like every day is one where we have to absorb more bad news! Whether it is something coming from the news, or the weather being massively unpredictable, there is this constant stream of fear and struggle. That all sounds bleak, though I feel – as many do – music has incredible benefits in that regard. I will come to a new article that has piqued my interest. Before that, Harvard Health Publishing put out an article last year that highlighted the benefits music has on mental wellbeing and anxiety reduction:

“How can music impact our quality of life?

Recently, researchers looked at the impact of music interventions on health-related quality of life, and tried to answer the question about the best way to help make that shift toward release, relaxation, and rehabilitation. This recent systematic review and meta-analysis (a study of studies) showed that the use of music interventions (listening to music, singing, and music therapy) can create significant improvements in mental health, and smaller improvements in physical health–related quality of life. While the researchers found a positive impact on the psychological quality of

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Complexities of music

As complex human beings from a wide variety of cultures, with a variety of life experiences and mental and physical health needs, our connection with music is very personal. Our relationship with music can be a very beautiful, vulnerable, and often complicated dance that shifts from moment to moment based on our mood, preferences, social situation, and previous experiences. There are times where music can have a clear and immediate impact on our well-being:

There are other times when a board-certified music therapist can help you build that connection to music, and find the best intervention and "dose" that could positively impact your health and provide a form of healing.

How can music be used as a therapeutic tool?

Music therapy is an established health care profession that uses evidence-based music interventions to address therapeutic health care goals. Music therapy happens between a patient (and possibly their caregivers and/or family) and a board-certified music therapist who has completed an accredited undergraduate or graduate music therapy program.

Music therapists use both active (singing, instrument exploration, songwriting, movement, digital music creation, and more) and receptive (music listening, guided imagery with music, playlist creation, or music conversation and reminiscence) interventions, and create goals to improve health and well-being.

Some of those goals could include decreasing anxiety, shifting your mood, decreasing pain perception during cancer or other medical treatment, increasing expression, finding motivation, and many others. The approach to using music to achieve these kinds of goals — and to improving your quality of life in general — can shift from moment to moment, and a music therapist can help you find what works best for a particular situation”.

A lot of the benefit from music comes with selecting the right type. If you are sad, choosing music that is quite downbeat or slower could be more use than happy music. You can accept your feelings - and there is that companionship with the sound and tone. Of course, more uplifting songs can elevate mood and help you break out of a funk. Naturally, as a disclaimer that needs to be put in right away: music as therapy and medicine is no substitute for therapy and medication: merely an alternative and additional form of assistance. To be fair, music aides those with memory issues and conditions like dementia. Music can help people unlock memories and parts of their brain that you would imagine to be ravaged and inaccessible. I am fascinated to see whether, in years to come, music as a companion to talk therapy and medication, is used to treat those suffering from a range of psychological disorders. We know about the mental health benefits. That is crucial at a very stressful and strange time. So many people cannot get a referral for a GP or counselling because of long waiting lists. It is really tough for those in need to get all the help they require. Of course, once more, music is not the answer and way around that. Merely, it has this therapeutic and healing power that can provide, at least, some form of temporary balm and clarity. In some cases, listening to music can help people to make important decisions, eradicate severe stress, and also ease their depression. Your brain can be kept young with music. There is almost that miraculous impact music can have on elderly people living with degenerative illnesses. It is amazing and humbling that a simple tune can make such a difference on a human being!

 PHOTO CREDIT: Mikhail Nilov/Pexels

I am not sure whether we ever really think too about music’s physical benefits. Physical illness can be accompanied by physical issues. As someone with depression, anxiety and sleep issues, I often get aching muscles, headache, back pain and a sluggishness that is not really alienated or made better by medication. I have been thinking about this after an article in The Guardian asked that question: could we use music like medicine?. Prior to that, this Healthline article from 2020 explored and explained the way music can impact physical health:

“Music’s effects on the body

It can help your heart health

Music can make you want to move — and the benefits of dancing are well documented. Scientists also know that listening to music can alterTrusted Source your breath rate, your heart rate, and your blood pressure, depending on the music’s intensity and tempo.

It decreases fatigue

Anyone who has ever rolled down car windows and turned up the radio knows that music can be energizing. There’s solid science behind that lived experience.

In 2015, researchersTrusted Source at Shanghai University found that relaxing music helped reduce fatigue and maintain muscle endurance when people were engaged in a repetitive task.

Music therapy sessions also lessened fatigue in people receiving cancer treatments and raised the fatigue threshold for people engaged in demanding neuromuscular training, which leads us to the next big benefit.

It boosts exercise performance

Exercise enthusiasts have long known that music enhances their physical performance.

A 2020 research review confirms that working out with music improves your mood, helps your body exercise more efficiently, and cuts down on your awareness of exertion. Working out with music also leads to longer workoutsTrusted Source.

In clinical settings, athletes who listened to high-intensity, fast music during warmups were motivatedTrusted Source to perform better competitively.

You don’t have to be a world-class competitor to benefit: ResearchTrusted Source shows that syncing your workout to music can allow you to reach peak performance using less oxygen than if you did the same workout without the beat. Music acts as a metronome in your body, researchers said”.

That is all amazing to read. Hospital waiting times are rising, and GPs are struggling and not being supported by the Government. The figures make for alarming reading. More does need to be done, as the NHS is being betrayed (I would recommend this book by Dr. Julia Grace Patterson, that explains more the ways in which the NHS is being ignored; how vital the service is too). Whilst funding and commitment from the Government needs to happen to ensure that the NHS can avoid privatisation and huge problems, there is this amazing outlet – maybe ‘alternative medicine’ – that you get from music. Recently, David Robson asked (perhaps rhetorically) whether music can benefit physical health. It seems like the more research comes out, the more we can understand all the fascinating and hugely inspiring ways music can impact people dealing with a whole range of illnesses and complexities:

“The academic literature tends to distinguish “music medicine” from “music therapy”. The latter requires the participation of a trained expert and may involve playing an instrument, composing or improvising. Music medicine is far easier to roll out: it involves listening to recorded music and can be done by yourself.

As you might expect, the creative expression of music therapy produces the most consistent benefits, but multiple studies confirm that the mere act of listening can be an effective treatment for symptoms of depression, anxiety, insomnia and physical pain. Two trials have even found that a regular prescription of music can reduce the blood pressure of people with hypertension by 6mmHg. That’s enough to lower the risk of a stroke by 13%.

PHOTO CREDIT: Karolina Grabowska/Pexels

Music medicine may work its magic through a range of mechanisms. While it might seem obvious that happier tunes can get you out of a rut of negative thinking, many people who feel sad also benefit from listening to something melancholic. It’s possible that these pieces help us to accept our feelings without fighting them, which is often important for recovery. Depending on the track, we might feel a sense of connection with the artist’s expression of the emotions we are encountering, which could lead us to recognise the shared humanity in our suffering – a prerequisite for self-compassion – and allow us to find meaning in what we are experiencing.

At a physiological level, low-tempo tracks could help to entrain the electrical activity in the brain stem to slower rhythms, which can bring about a more tranquil mood and regulate other biological processes – such as heart rate and respiration. Repeating musical motifs, producing a buildup and release of tension, are also known to play with the brain’s prediction and reward circuitry. This can trigger the release of neurotransmitters such as dopamine and endogenous opioids, which ease both emotional and physical pain. At its most extreme, we may feel these neurochemical changes as musical frisson or “chills” – an intense aesthetic experience”.

 PHOTO CREDIT: Cole Keister/Pexels

From increased sexual arousal and better sex, to the way music can provide physical therapy and rehabilitation, I think we will see a day soon where music, alongside conventional therapy and medication, is prescribed by doctors. The fact that music can be as beneficial for the body as the mind is really important! Often medications and therapies deal with one or the other. Music’s lack of limitations is truly wondrous! The more research that comes out, the more it can be harnessed and used in a targeted way. Whether that is providing moments of clarity and consign for those with Parkinson’s, to people suffering physical maladies, it is an area that warrants greater exploration and focus. 20th September was National Playlist Day. Music for Dementia provided a useful guide as to how to compile a playlist across various streaming platforms:

“Make a playlist

A playlist is a list of songs that you can store and play online using a service such as Spotify or YouTube. You can create different playlists for different occasions. For example, you might want to have a ‘Good morning’ playlist of cheerful songs to help your family member get up in the morning. You could also have playlists for getting washed, getting dressed, going out or relaxing towards the end of the day.

Have a look at our easy guides on how to make online playlists of favourite songs using these online streaming services:    

How to make a playlist on Spotify

How to make a playlist on YouTube

How to make a playlist on Apple Music

How to make a playlist on Google Play

How to make a playlist on Amazon Music

The Playlist for Life site also has some easy guides on how to create a playlist for someone living with dementia”.

It is really exciting seeing new research come out. It seems lately there have been quite a few findings. I feel a lot more of us are feeling the psychological and physical impact that the changing of the seasons and the tide of bad news is having. Degenerative illnesses are so upsetting for families and sufferers, so any breakthrough regarding music and its role in keeping memories alive is brilliant! The physical benefits - on the heart, head and whole body - is really inspiring and encouraging. The fact that Music as a subject is not going to be on school curriculums soon enough is extra heartbreaking when you understand how beneficial it can be for children. It is also a fantastic social lubricant and tool that was invaluable when i was a child in the 1990s. I will keep saying that one cannot see music as this magic elixir and cure for all know ills. It is, at the very best, a useful aide to medicine and physical/talk therapy…though it is a fascinating and constantly-evolving ally and curiously wide-ranging tool. I think all of us right now can appreciate the benefits music holds. You may need to chose the song carefully depending on your mood or need. Set some time aside, let the music play…

 PHOTO CREDIT: Freepix

AND reap its benefits!

FEATURE: Remastering… Hachette Job: Changing the Narrative Regarding Race, Gender and Value in Music

FEATURE:

Remastering…

IN THIS PHOTO: Jann Wenner, the founder of Rolling Stone and co-founder of the Rock & Roll Hall of Fame, has said female and Black artists aren’t “intellectual enough” to be interviewed for his new book, The Masters - his outdated and controversial comments caused backlash online and across music media/PHOTO CREDIT: Dana Scruggs for The New York Times

 

Hachette Job: Changing the Narrative Regarding Race, Gender and Value in Music

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THIS may be a generational thing…

 IN THIS PHOTO: Beyoncé has inspired artists across multiple genres and is undoubtedly one of the most important and influential artists of any generation/PHOTO CREDIT: Kevin Mazur/Getty Images for TIDAL

but I still think there is a corner of the music industry who feels that superior and the most influential artists are white men. There is not as much credit and spotlight focused on Black artists and Black women especially. Look at festivals headliners and those given the most focus on music magazine covers. There is still this narrative that has existed for decades. It is one that we need to address and change. Maybe, in decades past, most of the more acclaimed music was being created by men. At a time when women are dominating music and so many include Black women are in a league of their own, any comment or perspective against that is jarring and flawed. I mention this, as Jann Wenner, the founder of Rolling Stone and co-founder of the Rock & Roll Hall of Fame, has stirred controversy regarding his new book, The Masters. It contains no women. No Black women. No Black men. The idea and impression, therefore, is that the most important artists - ‘the masters’ - and the best innovators are all white men. I can agree people like Paul McCartney and Bob Dylan instantly spring to mind. What about Joni Mitchell? Beyoncé seems obvious. Madonna. Kate Bush. Kendrick Lamar or JAY-Z. When it comes to women and women of colour, there are options out there. As there is still an issue in the music industry regarding race and gender inequality, it seems like an awful statement bringing out a book which highlights the extraordinary legacy of white male artists. NME explains the (understandable) furore and backlash Wenner has faced:

“Jann Wenner, the founder of Rolling Stone and co-founder of the Rock & Roll Hall Of Fame, has said female and black artists aren’t “intellectual enough” to be interviewed for his new book, The Masters.

Within the book, Wenner asks questions of seven “philosophers of rock”, notably all white men – Bono, Bob Dylan, the late Jerry Garcia, Mick Jagger, the late John Lennon, Bruce Springsteen, and Pete Townshend.

In the introduction of the book, Wenner writes that women and artists of colour were not in his zeitgeist. He faced questions about this in an interview with David Marchese of The New York Times, and argued it wasn’t a “deliberate selection”.

“It was kind of intuitive over the years; it just fell together that way. The people had to meet a couple criteria, but it was just kind of my personal interest and love of them. Insofar as the women, just none of them were as articulate enough on this intellectual level,” he said.

PHOTO CREDIT: Bruce Glikas/Getty Images

Marchese countered this by asking, “You’re telling me Joni Mitchell is not articulate enough on an intellectual level?”

Wenner responded: “It’s not that they’re not creative geniuses. It’s not that they’re inarticulate, although, go have a deep conversation with Grace Slick or Janis Joplin. Please, be my guest. You know, Joni was not a philosopher of rock ’n’ roll. She didn’t, in my mind, meet that test. Not by her work, not by other interviews she did. The people I interviewed were the kind of philosophers of rock.

“Of Black artists — you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as “masters,” the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn’t articulate at that level.”

Marchese then questioned how Wenner could know that if he didn’t give those artists the chance to speak.

“Because I read interviews with them. I listen to their music. I mean, look at what Pete Townshend was writing about, or Jagger, or any of them. They were deep things about a particular generation, a particular spirit and a particular attitude about rock ’n’ roll. Not that the others weren’t, but these were the ones that could really articulate it”.

 IN THIS PHOTO: Bob Dylan and Wenner in 1995/PHOTO CREDIT: Anton Corbijn/Contour by Getty Images

Even though this is one man and one book, I think The Masters is systematic of an attitude that prevails. Also, it has a rather unfortunate title and connotation when you consider history and how the word ‘master’ has been employed – even though it is referencing masterful male artists. It has a gender-neutral possibility that means women could have been included. Yesterday, I am published a feature tomorrow that included songs from Black female artists. Incredible tracks from this year. I will expand on this in future and feature truly iconic Black artists. I want to divert slightly and bring part of an interview from The New York Times, where Jann Wenner was promoting The Masters. I have picked it up at the point where the lack of Black women (or women at all) was raised and challenged:

“You developed personal friendships with a lot of the people you interviewed in “The Masters.” I’m curious how you think those friendships helped the interviews, and are there any ways in which they hindered them?

By and large, they helped. Because the interviews I did, they’re not confrontational interviews. They’re not interviews with politicians or business executives. These are interviews with artists. They’re meant to be sympathetic, and they’re meant to elicit from the artist as deep as possible thinking that they’re willing to reveal. I think that the friendships were critical. I mean, the example of Mick Jagger — he just didn’t give interviews to anybody, and he still doesn’t. It’s because we were friends, I got him to do it. I had a particular kind of relationship with Bob Dylan. Jerry Garcia, we were old buddies from years ago. So, it really works. The only place it hurt was with Bruce. That was the interview I did for the book, not for the magazine. And my friendship with Bruce is very deep at this point. It makes it difficult to ask questions that you know the answers to. You’re trimming your sails to the friendship.

PHOTO CREDIT: Dana Scruggs for The New York Times

History will speak. This is also a history-will-speak kind of question. There are seven subjects in the new book; seven white guys. In the introduction, you acknowledge that performers of color and women performers are just not in your zeitgeist. Which to my mind is not plausible for Jann Wenner. Janis Joplin, Joni Mitchell, Stevie Nicks, Stevie Wonder, the list keeps going — not in your zeitgeist? What do you think is the deeper explanation for why you interviewed the subjects you interviewed and not other subjects?

Well, let me just. …

Carole King, Madonna. There are a million examples.

When I was referring to the zeitgeist, I was referring to Black performers, not to the female performers, OK? Just to get that accurate. The selection was not a deliberate selection. It was kind of intuitive over the years; it just fell together that way. The people had to meet a couple criteria, but it was just kind of my personal interest and love of them. Insofar as the women, just none of them were as articulate enough on this intellectual level.

Oh, stop it. You’re telling me Joni Mitchell is not articulate enough on an intellectual level?

Hold on a second.

PHOTO CREDIT: Hachette (Wenner said the subjects of his new book were the “philosophers of rock”)

I’ll let you rephrase that.

All right, thank you. It’s not that they’re not creative geniuses. It’s not that they’re inarticulate, although, go have a deep conversation with Grace Slick or Janis Joplin. Please, be my guest. You know, Joni was not a philosopher of rock ’n’ roll. She didn’t, in my mind, meet that test. Not by her work, not by other interviews she did. The people I interviewed were the kind of philosophers of rock.

Of Black artists — you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as “masters,” the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn’t articulate at that level.

How do you know if you didn’t give them a chance?

Because I read interviews with them. I listen to their music. I mean, look at what Pete Townshend was writing about, or Jagger, or any of them. They were deep things about a particular generation, a particular spirit and a particular attitude about rock ’n’ roll. Not that the others weren’t, but these were the ones that could really articulate it.

Don’t you think it’s actually more to do with your own interests as a fan and a listener than anything particular to the artists? I think the problem is when you start saying things like “they” or “these artists can’t.” Really, it’s a reflection of what you’re interested in more than any ability or inability on the part of these artists, isn’t it?

That was my No. 1 thing. The selection was intuitive. It was what I was interested in. You know, just for public relations sake, maybe I should have gone and found one Black and one woman artist to include here that didn’t measure up to that same historical standard, just to avert this kind of criticism. Which, I get it. I had a chance to do that. Maybe I’m old-fashioned and I don’t give a [expletive] or whatever. I wish in retrospect I could have interviewed Marvin Gaye. Maybe he’d have been the guy. Maybe Otis Redding, had he lived, would have been the guy”.

 IN THIS PHOTO: Labelle

There is more to Venner’s book and outdated attitudes than it being a bit controversial. You have to wonder what could have been had Black women decades ago had been given more opportunities ands exposure. What about the pioneering and influential Black men in music that he omitted? From Smokey Robinson springs to mind. Stevie Wonder is one of the most influential artists who has ever lived! Magazines like Rolling Stone were dominated by men in their ranks and on their covers. Think what would happen now is the music press still considered white men more relevant and only worthy of highlighting. To be fair, the industry still is racist and sexist, yet exposing troubling and problematic views that white men are superior regarding artistic endeavour has historical connotations outside of music. We get into seriously problematic political and social territory. The truth is that the music industry is so vibrant and inspiring right now largely because of women and women of colour. We do live at a time when there is stubborn progress regarding recognising that and rewarding it with equality and overdue acknowledgement. The Guardian published a feature that said Jan Wenner’s views are perhaps not quite as unusual as they seem – as in the music industry is still sexist and racist. In no way defending him, Craig Seymour writes that Wenner is exposing music’s bias when it comes to race, gender and artistic value:

“In 2020, I was a guest on the Who Cares About the Rock Hall? podcast, discussing why one of my  favourite bands, Labelle, should be inducted into the Rock and Roll Hall of Fame. They were certainly deserving: they sang socially conscious songs from a Black woman’s perspective, espoused a philosophy that reflected the intersectional politics of Black feminists such as the Combahee River Collective, and sported a space-age look now celebrated as an expression of Black futurism.

The problem was that I didn’t know how to articulate Labelle’s significance in terms that made sense for the Rock and Roll Hall of Fame. Labelle only had one big hit, Lady Marmalade, an ode to a Creole sex worker; the group’s most direct influence has been multiple covers of Lady Marmalade that have almost no connection with the group’s radical politics and style. I just didn’t see how I would be able to translate the group’s importance to the type of people who vote for Rock and Roll Hall of Fame inductees, meaning the mostly white men who historically have voted to induct artists who are white men, partly because of the way they’ve influenced other white men.

IN THIS PHOTO: Wenner in 1970/PHOTO CREDIT: Bettmann Archive

I thought about this podcast moment again when I read the comments of Rolling Stone magazine founder and Rock and Roll Hall of Fame co-founder Jann Wenner, in the New York Times. In his forthcoming book The Masters, Wenner compiles his interviews with seven rock musicians, all white men, “philosophers of rock,” as Wenner calls them. But Black musicians, he said, “just didn’t articulate at that level” and Joni Mitchell also “didn’t, in my mind, meet that test”. The likes of Mick Jagger and Pete Townshend expressed, he said, “deep things about a particular generation, a particular spirit and a particular attitude about rock’n’roll. Not that the others weren’t, but these were the ones that could really articulate it.”

He later apologised, saying “I totally understand the inflammatory nature of badly chosen words”, ones that “don’t reflect my appreciation and admiration for myriad totemic, world-changing artists”. But his earlier comments linger, confirming as they do the unspoken biases I have experienced in the world of music criticism since entering the field as a Black gay man in the 90s.

It does seem archaic publishing anything – whether a book, article or documentary – that discusses white men as being the most important artists. The true innovators. Excluding women comes at a moment where even thew Rock & Roll Hall of Fame – who have been called out for the lack of women nominated and inducted – still is dominated by male artists. You only need look at festivals headliners and the gender breakdown across radio playlists to see that male artist Are a go-to. Women being excluded and cast to the side. Things are starting to improve in some areas, though there needs to be a concerted and dedicated promise from the industry to improve visibility and bring about parity. It is always egregious and

“What’s needed at this moment isn’t just Wenner’s excoriation and ousting from the board of the Rock and Roll Hall of Fame, though that has happened. We need a complete rethinking of the criteria by which artists are deemed important, influential, and relevant, especially since many of the critics and editors who were trained by or influenced by Wenner are still working in journalism and book publishing.

IN THIS PHOTO: Wenner inaugurating the Rock & Roll Hall of Fame/PHOTO CREDIT: Rex Features

In 2004, critic Kelefa Sanneh attempted to address this issue in The Rap Against Rockism. He wrote: “Rockism means idolising the authentic old legend (or underground hero) while mocking the latest pop star; lionising punk while barely tolerating disco; loving the live show and hating the music video; extolling the growling performer while hating the lip-syncer.” Sanneh’s critique helped birth what some call “poptimism”, which, as critic Chris Richards describes it, “contends that all pop music deserves a thoughtful listen and a fair shake, that guilty pleasures are really just pleasures, that the music of an Ariana Grande can and should be taken as seriously as that of a U2.”

There is now a cadre of younger music writers devoted to documenting the true breadth of musical expression. The problem is that poptimism’s impulse to flatten the landscape fails to acknowledge how rocky the ground still is: how sexism and racism underpins the way many women and Black artists remain more embraced in the world of pop than rock. The only way to move the conversation forward – and reclaim any potential music criticism has to incite social change – is by fighting sexism and anti-Blackness with the same openness that Wenner revealed it. Otherwise, this whole controversy will just prove to be yet another moment of performative outrage that leaves the status quo unchecked”.

Maybe we still have too much of the ‘old guard’ holding way too much influence and their views and stubbornness hindering real progress. I really don’t think it is only that. I do agree with The Guardian that the industry has always been (and is now) sexist and racist. We all have a list of Black artists and Black women especially who are important, influential and vital. Great Black male artists doing phenomenal things and releasing music that is going to inspire people for decades to come. Maybe trying to articulate their merit and importance in terms of how bodies like the Rock & Roll Hall of Fame would understand it. There does need to be a reframing and redefining of importance and musical significance – taking it further away from white guys with guitars. One quote from Craig Seymour seems particularly timely: “The problem is that poptimism’s impulse to flatten the landscape fails to acknowledge how rocky the ground still is: how sexism and racism underpins the way many women and Black artists remain more embraced in the world of pop than rock”.

IN THIS PHOTO: The iconic genius Stevie Wonder/PHOTO CREDIT: Mike Coppola/Getty Images

When artists like Nova Twins, Bob Vylan and Corinne Bailey Rae are delivering some of the spikiest, most important and moving Rock/Rock-based music of the past couple of years, there are not many pages and articles dedicated to the modern Black queens of Rock. Black men who are modern legends and icons. It is vital we remember the legends. Though I feel certain genres are still perceived as white and being reserved for white men – Rock, Folk, Country, and even Rap are still having to answer a lot of uncomfortable questions without providing clear rationale. It is clear that things needs to change…though that eternal question remains: How do we do that?! New media is definitely shifting the narrative and is as open, embracing and diverse as it has ever been. It seems insane to think any right-minded journalist or author, when looking at music’s history and the pioneers, would only see white men. Look at modern music, and you can see the influence and impact that Black female and male artists of the past have had. How Black artists of today are inspiring so many others! Controversial and wrong-headed people like Jann Wenner, sadly, are not in a minority when they (intentionally or not) suggest that there are few women and Black men and women of note in music’s past. That sexism and racism is evident. Their mindsets and attitudes definitely are in…

 IMAGE CREDIT: Rolling Stone

NEED of retooling and remastering.

FEATURE: Spotlight: Nicki Wells

FEATURE:

 

 

Spotlight

  

Nicki Wells

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I adore a singer whose voice…

takes you somewhere magical! The last time I felt that was earlier this year when boygenius released their debut album, the record. That real beauty in their harmonies! That perfect blend. Billie Eilish, too, has that sort of fabulous and dreamy voice that has emotion and layers too. Billie Marten, yeas ago, when she released her debut album, Writing of Blues and Yellows. Such incredibly evocative and unforgettable singers. Nicki Wells is someone who very much fits into that category. Even though I have only recently discovered her music, her voice buckles my knees! I am immersed in her music and helpless but to surrender to it. With phenomenal songwriting and compositions that are so nuanced and scenic – in the sense they inspires visions of nature and eye-catching scenery -, Wells is an artist that everyone needs to hear! Her sound would be perfect for huge stations like BBC Radio 2 and BBC Radio 6 Music – and she would fit seamlessly onto their playlist. I love what she is putting out into the world. The London-based artist is a sensation. I am going to come to some interviews and a review of her album, Ellipsis. Before that, here is some background to Nicki Wells and her magnificent music:

“From folky roots, chilled electronica, rich sonic soundscapes to Indian classical inflections. All of these multi-faceted layers amalgamate, to create a rich musical palette of original sound” – Gig Soup

Singer, songwriter and composer Nicki Wells followed her 1st class honours degree in Music touring as a featured vocalist in Nitin Sawhney’s band. She has performed in some of the world’s most prestigious venues from London’s Royal Albert Hall and Sydney Opera House to Glastonbury’s main Pyramid Stage. Her voice has contributed to a number of films including Andy Serkis’s Mowgli, Deepa Mehta’s Midnight’s Children, Renny Harlin’s The Legend of Hercules and was a major part of the scores of BBC Documentaries such as The Human Planet series. Her first solo album Ocean was released in 2018 under the pseudonym TURYA (Listen to TURYA on Spotify.)

As a Composer in her own right, Nicki scored for Tanika Gupta’s theatrical adaptation of Charles Dickens’ Great Expectations, Howard Brenton’s play Drawing the Line, receiving critical acclaim. She co-composed the score to Khyentse Norbu’s feature film Vara – A Blessing and has also composed five of contemporary dancer Aakash Odedra’s shows, which have featured in venues like Sadlers Wells, Royal Opera House and Edinburgh Fringe Festival, (winning the Amnesty International Award for the politically conscious show #JeSuis). Nicki also composed the score to documentary film maker Koen Suidgeest’s Girl Connected and then joined forces with renowned sitarist Anoushka Shankar to compose the score for upcoming documentary film about the Dalai Lama An Officer and His Holiness”.

With a great gig coming at Matthias Church, London on 29th November, I will make sure that I am there. One that cannot be missed! Go and book a ticket. You can buy Ellipsis now. I think songs from this album would work perfectly in T.V. and film. So atmospheric and engrossing are they, cuts such as Carry On and Warrior – a couple of my favourites – instantly fit in a particular scene/show in my mind. I am going to come to some personal insight from Nicki Wells. First, here is some background information about Ellipsis:

“Ellipsis, with its intertwining of Indian classical, Celtic folk, eastern European choral and western pop music, can undoubtedly credit its kaleidoscope of influences on Wells’ own fascinating heritage. Born in south London, she moved to a farm outside of Rome, Italy, when she was three years old, then to Himachal Pradesh, India – in the foothills of the Himalayas – three years later. Attending an international boarding school, Wells was surrounded by jungle and dramatic mountains, absorbing myriad languages and cultures away from the pervasive materialism of western society.

“Without question,” she responds, when asked whether her childhood has impacted her creative ethos. “I’m very used to movement and diverse ways of expressing myself. My work is definitely an amalgamation of all my experiences growing up; a combination of nature and nurture… where you live and how that shapes you, and what you take from life as you go through it.”

“There was always music around the house,” she recalls of her upbringing. Her English father, whose own troubadour nature led to a university friendship with folk icon Nick Drake, would play his favourites – Randy Newman, Bob Dylan – while her Swiss-French mother appreciated the intricate compositions of John Lennon and Kate Bush. Wells first began writing her own songs aged six, then, when the family moved to the Cotswolds when she was 10, got into Singer-Songwriters. “I wanted to be a singer,” she admits with a laugh. Aged 16, she was offered a choice between the renowned Brit School or the prestigious McDonald College in Sydney. Choosing Australia, she flew to the other side of the world, staying with family friends, and immersed herself in the city’s rich local music scene.

It was around this time that she stumbled upon the music of Nitin Sawhney. The British Asian artist has worked with the likes of Sir Paul McCartney, Pink Floyd, Jeff Beck and Sinead O’Connor, along with scoring the soundtracks to countless acclaimed films and TV series. “His melding of East and West made complete sense to me,” Wells says. This artistic appreciation was returned around the time when she studied at the Academy of Contemporary Music, where she was introduced to Sawhney by award-winning producer Pete “Boxsta” Martin. “Nitin came into the studio and I sang an ancient Sanskrit hymn,” she recalls. “He asked me to do a gig with him that ended up being 10 years of touring and all kinds of work… that was basically my university.”

It was Sawhney who produced Wells’ debut album, Ocean, which she released under the name TURYA, a project she began in 2015. “It’s derived from a Sanskrit word, turiya, which means the silence one experiences after sound,” she explains. “I was really interested in that concept: if you go to a performance and experience the ring of the instrument's final note, the sustained silence in between that and the applause is this thing, turiya, which you feel as a wave.” With Ocean, Wells dived into the elements: on the title track, her vocals rise and fall to mesmerising effect over soft ripples of piano. On opener “Rain”, electronic beats come into mingle with the more organic sounds: “I've walked for days alone/ And on my way, I found nothing,” she sings. “Heat of the sun, it burns/ Like those words, how they haunt me now.”

Ellipsis came into being when Wells moved from Greenwich, London to her mother’s home in the countryside during the pandemic. “It was actually great for our relationship, I think,” Wells, who is now based in Monmouth, Wales, says. “She really gave me the space and time to dive into my creative well. And I don’t think I’d have had that opportunity at any other point in my life. I definitely needed it.” Lockdown became a sort of “crazy, self-purging, creative period”, she recalls. “I wrote around 180 songs. Each day I’d go for a walk, and it’d be like catching these ideas with a net, going home and recording them.” Twelve of those songs made it on to Ellipsis, the first body of work Wells feels she has truly “given birth to” single handedly, one that asserts her coming into her own as an artist. “Every sound you hear was hand-crafted… it was like having my own chiselling tools, working on every detail”.

Soul-baring and hugely enticing and fascinating, I am looking forward to seeing where Nicki Wells heads next. Ellipsis, in my mind, ranks alongside the best and most beautiful albums of this year. There are a few interviews from this year I want to bring in. It is useful, because we get to read different sides and aspects of Nicki Wells. She is a fascinating artist who will be playing huge stages very soon. Voice Mag spotlighted Wells prior to the release of Ellipsis. There are bits of the interview that particularly caught my eye. The more I learn about this majestic songwriter and her music, the more determined and resolved I am to explore more:

“A singer, a composer, a songwriter: Nicki Wells has worn many different kinds of hats in her career in music. A true citizen of the world, Nicki came to recognition working with Nitin Sawhney (who also produced her debut album OCEAN, which she released under the pseudonym TURYA), appearing on everything from TEDx talks to Glastonbury’s Pyramid Stage with him. Nicki’s blend of Indian classical music, Western classical, Folk and Jazz, along with a myriad of other influences have resulted in her music being truly one-of-a-kind.

Ellipsis is Nicki Wells’ debut under her own name, and the freedom of creating it almost single-handedly during lockdown resulted in an album of self-reflection and self-empowerment. “I think in a way it's more genuine to who I am,” she tells me, “I gave birth to these songs by myself without any producer or other engineer.”

“It was intensely personal and I just needed to do it by myself. It’s an album of roaring into existence as an artist.” “It was spiritual work, the whole album: …It was rolling up your sleeves and getting your hands mucky with creativity.”

“I think the need to hear one’s own current is really important as an artist, and that’s what I was able to do, probably for the first time in my life, in 2020 when I moved out of London to my Mum’s. Because my life before that was always very very social, always on the move…. But it’s really important to sometimes just switch off the television and then hear what’s bubbling inside.”

“Now that this world is becoming more and more technology based, I want to be more and more a recluse. There’s an element of just wanting to have a simple life, a couple of chickens, have some animals, have some fruit trees, and try and live off the grid a little bit”, she says with a bit of a wistful smile. “But obviously we are part of this world where it’s all very necessary to be part of these social media apps and stuff. But as a creative it’s harder to hear what you need to say.”

Sanskrit is a language that Nicki incorporates into much of her music: Turya, the name under which she previously released music, is derived from the Sanskrit word for the silence after sound. With Ellipsis also having meanings of the space between the tangible elements, I asked Nicki what it was about this concept that drew her so much to it.

“I find that the silence between the sound, or the space between form, is as important as the form and sound, and I think that a lot of the time that is very much overlooked. Because as humans we’re always chasing the answer, this quick release, this quick fix.” “I think the process of something becoming what it is is much more interesting to me than the actual result.”

“It is the silence that is the canvas of the sound, and that’s what gives it its structure; like space gives pottery its structure. (Nicki also makes pots as her merch under the name TURYA) I’m very interested in the in-betweens, not just the black and white but the greys. That’s always the interplay of life: that we’re always living in the formless and form. An idea is initially formless until it becomes form. Whether it’s a pot or whether it’s a song, suddenly something is tangible. And I’m very interested in that interplay between formlessness and form; and I also would say that about ourselves: I’m not necessarily interested in myself as a form, but I'm more interested in deconstructing myself to be formless. That’s why I like to self-examine where I’m at, because we are all changing [and] morphing… at any given point, and so I really need to sometimes focus in on where I’m at, to see what can I give, what can I offer with where I am at now”.

Rather than source the entirety of 15 Questions’ interview with Nicki Wells, there are some particularly I wanted to highlight. I love what Wells says about spirituality. How her creative process works. So rich are the songs you hear on Ellipsis, I was interested to learn how things started and came together:

“Is there a preparation phase for your process? Do you require your tools to be laid out in a particular way, for example, do you need to do 'research' or create 'early versions'?

There is an element of having a certain environment that is conducive to the creative process. I can’t create with a lot of mess around. A messy environment also gives you a messy mind.

I like to have a minimal environment, that is uncluttered. During recording I’ll always light a candle for example, to have a little ritual and blow it out after the recording as a kind of thank you.

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise or reading poetry play?

As I said above. And yes, lighting is so important too. For me, it has to be dim and cozy but if I’m writing during the day I like as much light as possible.

What do you start with? How difficult is that first line of text, the first note?

The music comes easier to me. I usually write the music first then words come. I try to stay very close to my initial feeling and try not to dilute it otherwise it becomes something else and can be scattered or distracted.

Of course there are many times where a song is completely different to how you first imagined it. I like the song to guide the way for me and I’ll try to listen carefully to the direction it wants to go.

When do the lyrics enter the picture? Where do they come from? Do lyrics need to grow together with the music or can they emerge from a place of their own?

Lyrics come after music for me. I like to read books, poetry which really inspire lyrics.

Sometimes I have watched a film and wrote a song about the same kind of narrative.

What makes lyrics good in your opinion? What are your own ambitions and challenges in this regard

Imagination, poetry, a play on words, humour and wit when appropriate and a feeling of not taking yourself so seriously. As you would converse with a friend, to have that informality, ease and gentility.

The best songwriters for me are the likes of Leonard Cohen, Joni Mitchell and Jeff Buckley.

Once you've started, how does the work gradually emerge?

By trusting the process, being concentrated and open to the creative flow.

Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control over the process or is there a sense of following things where they lead you?

Exactly the latter.

Often, while writing, new ideas and alternative roads will open themselves up, pulling and pushing the creator in a different direction. Does this happen to you, too, and how do you deal with it? What do you do with these ideas?

I go with it. Sometimes I try to go back and focus harder on the original feeling but if it’s not meant to be, then I allow myself to be swept with the creative tide and the song go where it needs to.

There are many descriptions of the creative state. How would you describe it for you personally? Is there an element of spirituality to what you do?

Everything is spiritual. The word spiritual itself has come with a lot of associations and concepts and that’s a problem. To me it’s about being part of a flow in an open and surrendered state and in that there will always be gifts, surprises and lessons along the way.

Spirituality is a way of being not a way of doing. If you are in that childlike curious, open yet focused state, quite frankly I think you’re there. And the creativity can flourish within that state”.

It is pleasing to discover that Nicki Wells is already in the process of making another album! I learned this when reading Charm Music Magazine’s interview with a stunning artist who has one of the most distinct and spellbinding voices in modern music. If you have not discovered Nicki Wells yet, then you really need to follow her:

“The album's imagery and allegorical lyrics have a way of evoking vivid imagery. How did you approach the process of crafting these lyrics and what do you hope listeners take away from the imagery you've created?

As a person I think very allegorically. Pretty much all of my songs derive from a vivid visual narrative. When I write songs, it’s often like watching a movie in my mind. I hope listeners draw out their own imagery from the lyrics, as they would from a novel. Everyone has their own unique interpretation of a narrative.

"Ellipsis" features a track with the same name that's purely instrumental. Can you share your perspective on how this track complements the rest of the album and what it represents?

Ellipsis was the symbol of (…) of the album. At the end of a sentence which invites contemplation or to allow that information to sink in. It is the last track of the album and wordless because by then I said everything I needed to say.

@nickiwellsmusic The Vinyl of my album Ellipsis are here and they are stunning! Head over to my bandcamp to get your own copy! #vinyl #album #ellipsis #newmusic #albumoutnow #fyp #fypシ #singer #songwriter ♬ original sound - Nicki Wells

If you had to choose only one song from the album, which one would it be and why?

I’d probably say You’re Alright Kid because that was a song I had written to my six year old self and it was very personal and emotional for me to write. It was a hug to my child self and an image of holding her hand walking together towards her future.

Looking ahead, you have an upcoming live show at St Matthias Church in London. How does performing live contribute to your artistic expression and what can your audience expect from this upcoming performance?

Performing live is a whole other dimension of being a creative and I am looking forward to bringing these songs alive in a live context. We have a very exciting band which includes a string quartet and since the album has strings throughout the record, it will be a magical experience to have them live. I hope the audience are taken deep into the world of Ellipsis and come out feeling fresh and empowered.

After the release of Ellipsis, what are your aspirations and plans for the future? Are there any themes or musical directions you're excited to explore in your upcoming projects?

Yes, absolutely! I am already getting started with the next album and I have also joined forces with my husband Tarq Bowen for a duo project we have started called Bowen Wells which we are excited to explore. It’s a different sound to my own original work, very fun, lively and more of an Americana folk-rock feel!”.

I will come to some reviews soon. I feel Ellipsis is an album that warranted some attention and press love from mainstream sources. The music is definitely strong and worthy enough to get under their radar. I hope that they do tune themselves Nicki Wells’ way in the future! With that London November gig coming up, I feel it will not be too long until she is demand in nations like the U.S. and Australia. I will get to a review of Ellipsis by York Calling. This is what they had to say about a diamond of an album:

“With her new album, Nicki combines classical influences from around the world. There are tastes of India, Celtic folk, and eastern European choral music alongside western pop and influences from Wells’ own heritage. Born in South London, she moved to rural Italy when she was three. Later, she found herself in the foothills of the Indian Himalayas. Her formal education then took her to Sydney, Australia before a return to the UK. This international upbringing has given Nicki an unusual and unique point of view which she brings to her music.

Nicki’s sound is influenced by a range of musicians, most notably the legend that is Nitin Sawhney who has worked with the likes of Sir Paul McCartney, Pink Floyd and Sinead O’Connor. Nitin would go on to produce Nicki’s first album Ocean released under the name TURYA.

Nicki’s new album Ellipsis is something of a re-announcement of her music and came about after she had moved from Greenwich in London to her mother’s home in the countryside during the coronavirus pandemic. It opens with Never Will. A delicate piano-led number, it’s a gentle and welcoming introduction to the album’s world. Nicki’s vocals are arrestingly soft. I found myself hanging on every word she sang.

Pavement keeps the piano but ramps up the atmosphere. It’s a dark and moody moment with beautifully descriptive lyrics that will haunt you. Carry On follows in much the same vein but introduces a hopefulness with its lyrical story. The Night brings with it acoustic guitar and ghostly harmonies. She Made You Feel Something is a beautifully textured track with ambient percussion and folksy vocals. The aforementioned Holy Smoke closes the first half of the album with an understated, memorable highlight.

The second half of the album opens with the contemplative Sidelines. Nicki’s vocals are particularly beautiful during its stripped back first verse. I Have Longed To Be Here is a beautifully rich and meditative track where Nicki’s eastern influences are worn proud. Silent One is slow-burning, unfolding over six and a half minutes. The natural romance of its journey makes it another highlight.

You’re Alright Kid is a track that’s touched with the nostalgia of youth mixed with the melancholy of adulthood. Warrior has an understated sense of triumph. It builds to a rousing crescendo which gives us the album’s emotional high point before title track Ellipsis closes the album with a pulsating final chapter that combines electronic and acoustic instrumentals to great effect.

Ellipsis is an ambitious effort from an artist who has been through it all. Nicki proves herself as a fiery and accomplished song writer with this collection. Its emotional story is second to none and she brings such a wonderfully unique tapestry of sounds across its twelve tracks. This is an album to switch off and get lost to”.

One more review before we come to an end. It has been a real pleasure discovering more about this terrific artist. That mixture of sounds and influences stands Nicki Wells out as a very promising and must-hear talent. Someone with a very bright and interesting future ahead:

“At the start of this review, I want to highlight just how difficult it is to effectively convey themes while still adopting a minimalist, sparse sound—almost as if to see what it is that can be done while still sticking to the very fundamentals of what has defined music for the last 3000 years. I’m glad to report that Nicki does it flawlessly on “Ellipsis”.

The album starts out with “Never Will”, a beautiful ballad with not much for Nicki to hide behind but the faint pianos in the background. As the song starts out, you are immediately drawn into the lush and dreamy soundscape with her voice filling up your ears in almost an ethereal fashion. As the song develops, you are introduced to the skilful harmonies, well-articulated themes, and the promise of these elements just getting better throughout the album.

And get better it does! With the mild percussion entering the scene on “Pavement”, the theme of minimal, less-is-more continues, only this time with a little more drive and panache, which is a welcome change indeed. As we “Carry On”, we are immediately transported to a slightly darker sound, with deep, rumbling orchestral drums in the background, as the song presents an almost angelic sound, as if it is conveyed from the heavens above itself.

The strings appear on the next song, “The Night”, while her vocals remain the centre stage of the entire performance—and deservedly so! I was left mesmerized as she effortlessly wafted between melodic ideas, chord progressions, and energy changes. Class act so far!

As we get near the middle of Ellipsis, “She Made You Feel Something”, is quite the passionate number, with the poignance to mean the message it truly tries to convey. As she delves into themes of heartbreak, and encouragement, the vocal harmonies take the cake on the song, with intricate and expressive layering that really strike chords in you; they definitely did so in me.

With “Holy Smoke”, the next song, the themes keep getting more melancholic and poignant, with the execution remaining as crisp and flawless as ever. I will take a minute here to comment that it is challenging to keep sound and emotional intensity unwavering throughout an album of this length, much less we have a story with themes that each of the individual songs establishes. This is the kind of album that really goes the extra mile to demonstrate how it is done, and I do not overstate it when I say that “Ellipsis” really is a master class in more ways than one.

A special mention from Ellipsis is “I Have Longed To Be Here”, the kind of song that delves really into vocal experimentation with its long, drawn-out notes as well as powerful, moving strings in the background, coupled with themes of wistfulness, melancholy, and unadulterated power. The harmony towards the end of this song is an easy 20/10 performance, with something about it really, really moving something in me”.

Go and listen to Ellipsis. Follow Nicki Wells on social media, and really embrace and explore an artist who is producing such wonderous and unforgettable music! Her production and engineering work on Ellipsis is incredible. I can see her being hired as a producer and engineer. At a time when few women in the industry are noted because of their technical skills – and studios still have a massive gender disparity -, it would be good to remember that producing and engineering are two essential levels of an album. Getting the sound right. Making sure all the music is perfect. Ensuring the songs are mixed properly and there is that flow through the album. Getting the sequencing right too…in addition to that communication with the musicians. Ensuring everything on the album sounds as good as it could possibly be. Such an important talent in the music industry, I felt compelled to spotlight and salute…

THIS magnificent human.

_____________

Follow Nicki Wells

FEATURE: But That Dream Is Your Enemy: Kate Bush’s Experiment IV at Thirty-Seven

FEATURE:

 

 

But That Dream Is Your Enemy

  

Kate Bush’s Experiment IV at Thirty-Seven

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I don’t have too much extra…

to add to previous features about Experiment IV. It is thirty-seven on 27th October, so I feel compelled to revisit it. Many Kate Bush fans might not know about this track. There have been some classics that never made it onto a studio album or were B-sides. I have argued before how Experiment IV would have sounded great on Hounds of Love. Even if Bush wrote Experiment IV too late in that respect, it would seem to fit nicely on the first side. Given that this song came out not long after Hounds of Love and yet does not receive the same sort of love and airplay is confusing. The track was a special single/addition to Bush’s greatest hits album, The Whole Story, It is usually the case that when an artist releases a greatest hits collection, there is a new track. Maybe a single or new song that didn’t fit onto a studio album. Normally they are not too much to write home about. I have always liked Experiment IV. Reaching number thirty-seven in the U.K. when it was released as a single, here is an extract from when Kate Bush posted to ger official website to discuss the song:

“This was written as an extra track for the compilation album The Whole Story and was released as the single. I was excited at the opportunity of directing the video and not having to appear in it other than in a minor role, especially as this song told a story that could be challenging to tell visually. I chose to film it in a very handsome old military hospital that was derelict at the time. It was a huge, labyrinthine hospital with incredibly long corridors, which was one reason for choosing it. Florence Nightingale had been involved in the design of the hospital. Not something she is well known for but she actually had a huge impact on hospital design that was pioneering and changed the way hospitals were designed from then on.

The video was an intense project and not a comfortable shoot, as you can imagine - a giant of a building, damp and full of shadows with no lighting or heating but it was like a dream to work with such a talented crew and cast with Dawn French, Hugh Laurie, Peter Vaughn and Richard Vernon in the starring roles. It was a strange and eerie feeling bringing parts of the hospital to life again. Not long after our work there it was converted into luxury apartments. I can imagine that some of those glamorous rooms have uninvited soldiers and nurses dropping by for a cup of tea and a Hobnob.

We had to create a recording studio for the video, so tape machines and outboard gear were recruited from my recording studio and the mixing console was very kindly lent to us by Abbey Road Studios. It was the desk the Beatles had used - me too, when we’d made the album Never For Ever in Studio Two. It was such a characterful desk that would’ve looked right at home in any vintage aircraft. Although it was a tough shoot it was a lot of fun and everyone worked so hard for such long hours. I was really pleased with the result. (KateBush.com, February 2019)”.

The Whole Story – which I shall write about closer to its anniversary in November – has two interesting facts. Apart from Experiment IV being the only new song on the collection, there is a new recording of Wuthering Heights. A new vocal. That was the B-side on the U.K. 7” release of Experiment IV. I have written before claiming the track is one of Kate Bush’s most underrated. It is definitely one that does not get a whole load of attention.

There are a few bits out there. This webpage has some interesting observations and details. It did seem like the music press were favourable towards Experiment IV in 1986. There is a lot of horror baked into the song’s sound and lyrics. The video – directed by Kate Bush – is quite frightening and intense. With images and screenshots that could be matched to Stranger Things or Aphex Twin’s video for Come to Daddy, it is definitely influential and iconic.

“Throughout the song the listener is fed snippets of exactly what has gone into creating this devastating sound – From the painful cries of mothers, To the terrifying scream... We recorded it and put it into our machine. The dark subject matter of both the lyrics and the video - sinister music that can harm and kill the listener, coupled with the strange technology the scientists use to create it (most hauntingly of all it’s never revealed why) - calls to mind the work of British sci-fi/horror writer Nigel Kneale, who frequently blended science and supernaturalism with anti-authoritarian undertones. In works such as Halloween III and The Woman in Black – and indeed John Carpenter’s homage to the work of Neale, Prince of Darkness – technology is presented as a quasi-magical force with severely sinister connotations.

Dawn French and Hugh Laurie provide a little comic relief as two scientists ensconced in the dubious research, and the reluctant Professor overseeing the research is named Jerry Coe; perhaps a reference to Jericho, the walls of which crumbled at the sound of the Israelites’ trumpets at the end of a war, as described in the biblical book of Joshua.

 The horrific effects of the scientists’ research is featured throughout the video, as various test-subjects are shown writhing around in straitjackets after hearing the sound. Finally, when the sound is 'unveiled', it appears as a spectral siren which suddenly takes on the form of a terrifying winged ghoul, which then proceeds to wreck havoc in the lab, slaughtering the scientists and test-subjects alike. The camera then assumes the role of the creature and pursues various scientists along the starkly lit and increasingly chaotic corridors of the facility, eventually tracking outside to reveal the rather apocalyptic aftermath of the incident – pre-empting ‘contagion horrors’ such as 28 Days Later etc. A cordoned-off vicinity around a music shop (revealed to be a front for the shady government project) – in which the shopkeeper is displaying copies of Experiment IV – is strewn with the bodies of the dead. Lastly, we see Ms Bush hitch-hiking on a nearby stretch of road and clambering into a van, but before she does, she turns to wink at us knowingly, suggesting this is only the beginning of her deadly mission… It could sing you to sleep, But that dream is your enemy! Incidentally, the sound of the helicopter heard at the end of the song as the military make a hasty retreat, is the very same helicopter sound heard in Pink Floyd's The Happiest Days of Our Lives from The Wall. Dave Gilmour and Kate are good friends.

Experiment IV is also notable for its hauntingly beautiful violin work courtesy of Nigel Kennedy, who at one point replicates Bernard Herrmann's famous stabbing strings from the shower scene in Alfred Hitchcock's Psycho”.

In 2022, GQ noted how Stranger Things could have been inspired by Kate Bush’s video for Experiment IV. That Netflix show featured Kate Bush’s Running Up That Hill (A Deal with God) and sent it to the top of the singles chart in the U.K. I think Experiment IV is influential in its impact on T.V. and music videos. I do really love the lyrics. This experiment being devised in a lab or secret location. Never mentioned whether this was a warfare device or torture machine, it is one that can produce sounds that kill people. A song that emphasises how Bush’s inspirations are never traditional or predictable! The lines of “But they told us/All they wanted/Was a sound that could kill someone/From a distance/So we go ahead/And the meters are over in the red/It's a mistake we've made” really stick in my mind. Bush’s vocal delivery summons up chills and beauty at the same time. Even though it was not ignored, Experiment IV does feel like a lesser-known and slightly overlooked part of her history. She was doubtful about a greatest hits album coming out. When it went to number one and was really popular, it appeared any cynicism was misplaced. I always wonder whether she had a view of doing something more with Experiment IV. There are so many of her songs that could be threaded together into a short film. Bush’s original video is great though, as shows such as Stranger Things seem to nod to it, a modern-day updating would be interesting. A song never performed live – except an appearance on Wogan around its release -, this is something I would love to see realised for the stage. On 26th October, the majestic and haunting Experiment IV is thirty-seven. I think people should check it out. Its video was banned by Top of The Pops because it was considered too violent. It was also nominated for the Best Concept Music Video at the 1988 Grammy Awards. This compelling and hugely interesting track – with its star-studded video – is one that should get…

A lot more attention.

FEATURE: Spotlight: Asha Gold

FEATURE:

 

 

Spotlight

  

Asha Gold

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A magnificent talent…

who everyone should know, I wanted to highlight Asha Gold. The London artist’s latest single, Cheap Wine, is terrific. There is a blend of Neo Soul and R&B. Mixing genres together but creating her own sound and sensation, this is an artist who has the talent and promise to remains in the industry for many years to come. I will get to some interviews from last year – as I could not find too many from this one – that gives you more of a picture about Asha Gold. I want to start with a track from 2021. Gold, like many artists, started to put together her first moves during the pandemic. Even if her debut single was released prior to that, when she was starting to develop and grow, that was the time the pandemic struck. An impossible time for a young artist trying to establish their name. I will start with a 2021 interview with Haste Magazine. They chatted with Gold around the time of the release of her single, Exes. They highlighted an amazing artist navigating the music industry as a woman of colour:

“The apple of tastemakers eyes, London’s Asha Gold is making her mark on the UK music industry with her silky smooth melodies and catchy contemporary beats. Named as one of BBC Asian Network’s Future Sounds 2021, Asha has been utilising her classical music background while championing her newer knowledge of the industry to produce her instantly recognisable tracks. We caught up with the rising star to discuss her latest single ‘Exes‘, and how she has, and continues to navigate the predominately white, male industry as a woman of colour.

While Asha’s music today combines a number of different sounds and sub-genres, her earliest musical memories lie in a different genre. From a young age Asha was surrounded by classical music and was encouraged to learn a number of instruments and delve further into it’s many avenues. She went on to explain to us a bit about her musical background and how it has impacted her as a musician today.

‘I started to learn piano at a really young age. That was my first experience of learning a skill and technique, and I later started signing and drums. And then I used to perform in groups and orchestras. That’s where I found my love of performing, at the end of a concert or a show that kind of post-performance high. It was only after I left school that I turned to writing and storytelling. I’m grateful for the classical background because it gave me the chance to understand the music, not just the lyrics but also the music behind a song. And discipline which is definitely important as an artist.‘

While many female artists like Asha have grown up surrounded by music, many womxn are made to feel out of place behind the musical scenes. In a predominantly white, male industry, womxn (and specifically womxn marginalised by gender or race) find it hard to solidify their space within the scene. We asked Asha if she has found many obstacles within this space and how she has overcome them.

‘Definitely, especially as a female artist when you are often in a room with male producers, or generally male dominated environments. What I love about having an orchestral background is that I feel like I can speak with more authority and a bit more confidence in those situations. Because I know what’s going on and I can back myself. I can understand a lot of the technical jargon. I’d love to continue honing those skills and learning something like guitar. I think the more self-sufficient you are as a female creative, the better.

People obviously look at me and know I’m an Anglo-Indian artist and that’s an important part of my artist project. But people sometimes try to project a certain type of marketable view – as in ‘play this up’, ‘do this’, ‘use it to play up your USP’. I’ve been asked so many times ‘what’s your USP?’, and I’m just not sure that white artists get asked the same question. There are a lot of white artists that are brilliant but occupy similar spaces, have similar sounds and collab with the same people. So that question raised a lot of doubt in me. But I realised that’s such a narrow question because in my eyes there’s lots of things that make every artist unique.

Now it’s more just increasing representation. I think things can be quite black and white without necessarily honing in on what is across that whole spectrum. It’s just important for me to exist in this space and be authentic to myself and to my relationship with my Indian heritage.’

While Asha’s music has obvious hints of R&B, her tracks are instantly recognisable as her own because of her mixes of different genres and sounds. So to confine Asha’s sound to just one genre or label would cut out so much of the work she has put in to create such unique work. So we asked her to sum up what her music means to her.

‘I would describe it as colourful. I’m very influenced by R&B and a lot of that genre can be quite indulgent. I’m not ashamed to bring in those pop influences and really mash all those kind of sounds. I love whacky percussion, I don’t want to resort to a snare you’ve heard a million times. So I think choosing left-field, slightly unique sounds, but then maybe a more familiar pop melody is really important in creating my sound’”.

I discovered Asha Gold earlier this year. I was not aware of her musical background. Someone who has come from a more Classic background into R&B, Pop Sugar spoke to her at the start of 2022 about that transition, in addition to why she is filming a content series with Pizza Express:

“POPSUGAR: Tell us a bit about how you got started in music.

Asha Gold: I actually came from a classical background in terms of my music. My main instruments were piano, percussion, and singing, but more so musical theatre as opposed to anything pop or R&B or contemporary. I spent all my time in school really playing in swing bands and orchestras, and then, I left school, and I realised that, actually, I'd never really explored the songwriting/storytelling part of music.

I started playing around with writing, and I really enjoyed it, but obviously, having not grown up trying to do that, I had no connections in the industry. It was a lot of emailing and cold-calling anybody that seemed relevant to what I was trying to do. Going for coffees and meeting up with my brother's girlfriend's cousin's boyfriend — anything like that, which I'm sure is the same for a lot of people.

PS: How did you get into classical music?

AG: It was my mum who really pushed me to start an instrument when I was quite young, I think because it teaches you a lot discipline and independence, and you have to really persevere when you're trying to nail a piece. I found piano quite lonely, because you're usually just practicing for exam, doing the exam, and repeating, and that's why I started drumming and doing percussion, because then I could play with other people. I really just fell in love with live music and live performance. Even though it's nothing like the live stuff that I do now, it's the exact same feeling [that you get] after a concert or after you've finished a symphony — there's a real postperformance buzz. Actually, I've recently rejoined an orchestra, because I was really missing it!

PHOTO CREDIT: James Robinson

PS: That sounds pretty impressive! How would you describe the music that you create now?

AG: I would describe it as colourful R&B with pop influence. I think a lot of the melody and vocal is quite pop, but I also love a bit of left-field production and wacky R&B.

PS: Along with music, you've also been working with PizzaExpress on its new Behind the Base series. What can you tell us about it?

AG: We recorded an episode of Behind the Base for Veganuary, and we made one of their vegan pepperoni pizzas. It's an amazing series because it highlights a mix of up-and-coming and already established artists. I've been watching the episodes, and it's so nice to get to know the artists in an informal environment. The series is in partnership with Nordoff Robbins, which is an incredible music therapy charity, and each episode takes place in the live Pizza Express space.

PS: Speaking of music therapy, how important has music been for your mental health in the past 12 months?

AG: It's a bit of a paradox because, on the one hand, the process of becoming an artist and trying to grow I found has taken a toll on my mental health. It's been taxing because of all the lockdowns and this massive emphasis on social media and TikTok and the constant, rapid creation of content.

I think trying to become a musician is tough, but at the same time, the reward is what keeps you going and what balances it out. Things like listening to a demo that I've created or having a brilliant session with a producer — they can be so cathartic and such a release, and they give you that confidence boost, like, "Yeah, I can write these songs." It's been massively important for my mental health to keep something creative going in and amongst all of the endless strategy and social content. The job description of a musician is completely different now.

Sometimes I wish I was born 20 years ago, and I was in the Adele era of walking into a bar and finding the next biggest thing, and then that being it. I'm not antisocial, but I think it's just about finding a way to make it work for you and doing something that's not going to suck the life out of you while you're doing it. It's about being authentic on those platforms as well”.

I like Fred Perry’s quickfire interview style. We get to learn more about Asha Gold here. Name-checking Beyoncé as a hero might mean (let’s hope) that the two get to work together one day. Let’s see how things work out in that regard! At the moment, there is no denying that Gold is a name to look out for:

“Describe your style in three words?

Confident, comfortable, changeable.

What’s the best gig you’ve ever been to?

I went to see Barney Artist on my own at Oslo in Hackney - the solidarity and positivity in that room was magical - I think London lacks that kind of energy sometimes. Barney was hilarious, dynamic, and open. Loyle Carner saw me with my phone out and thought I was taking a picture of him though, that was quite awkward.

If you could be on the line up with any two bands in history?

Anderson Paak and The Free Nationals and Rosalía - they own the stage as soon as they step onto it.

Which Subcultures have influenced you?

I spent years at school immersed in classical music playing percussion in orchestras, which demanded huge discipline and enabled me to develop my musicianship further than I ever could have imagined. To bring a classical symphony to life requires a delicate balance of precision, concentration, emotion and freedom.

If you could spend an hour with anyone from history?

Frida Kahlo. I study Spanish at uni, but I’d be a Frida fanatic even if I didn’t. In a conservative society, she broke all the rules, and she channelled the physical and psychological trauma that punctuated her life into her art.

Of all the venues you’ve been to, which is your favourite?

O2 Shepherd’s Bush Empire - it’s my local so the dream is to play there one day.

Your greatest hero or heroine in music?

Beyoncé. She. Is. Everything.

19-year-old Londoner, Asha Gold is a self-driven R'n'B influenced artist whose debut 'Too Good' emerged in late 2019 to critical acclaim from the like of Clash and Earmilk with its personal take on the genre.

The first track you played on repeat?

'Survivor' by Destiny’s Child
Because I had a toothbrush when I was little that played it every time I brushed my teeth.

A song that defines the teenage you?

'Where is the Love?' - Black Eyed Peas
That song is so poignant it could have been written yesterday.

One record you would keep forever?

'Lemonade', Beyoncé”.

There is a beautiful interview from October last year that I want to end with. In December 2022, Asha Gold released her debut E.P., Maybe This Is Me Growing Up. Here is hoping that we get another album soon (or an album). In a brilliant FAULT interview – together with a stunning set of photos –, Gold was asked about making music during the pandemic and, at such a tough time, being recognised and receiving industry accolades:

“During the pandemic, Asha Gold releases many singles which catapulted her to being featured on the BBC network as “Future Sound of 2021”.

During a consistent summer filled with Festivals, Asha made her appearance on BBC Music Introducing at Glastonbury Festival 2022. As of September her new single “One of Kind” produced by Mitch Jones embodies self-love, being comfortable and confident on your own futher normalising that it’s ok to be with oneself.

As we currently bask in the religious celebration “Festival of Lights” joy, prosperity happiness and a triumph of good over evil, this Diwali – we’d like to highlight the Asian designers alongside the talent that is Asha Gold.

One of a kind is a track for setting boundaries and being by oneself are you an introvert? And what made you comfortable with spending time with yourself?

I wouldn’t say that I’m an introvert – I love socialising and I’m quite a chatty person, but I also definitely need me-time. I need at least one night a week just enjoying my own company, taking time over cooking a meal and winding down. “One of a Kind” encapsulates how I feel when I’m feeling myself and my most confidence. It’s the kind of song you can put in your headphones and walk down the street feeling like you can conquer the world.

PHOTO CREDIT: Marcelle Johnson

When and where was the first time you discovered your first Rnb artist, who was it and what was the song?

I think I started discovering a love for RnB music by listening to the radio on the way to school. Whenever my Mum drove me in we would listen to Capital FM, so I’d always know the mainstream hits word for word. I vividly remember hearing Beyoncé’s “Irreplaceable” on the radio, as well as Jordin Sparks / Chris Brown’s “No Air”. I was also an avid X Factor fan – I rarely missed a Saturday night episode when I was young and had X Factor pyjamas! I remember being enchanted by singers like Leona Lewis and Alexandra Burke and wanting to belt out ballads like they did.

Setting your decision in stone to become a singer-songwriter, how did your parents respond?

I first started my artist project when I left school and took a gap year, and I had never felt so high on life as those months of writing at the piano and making demos, getting coffees with whoever responded to my emails and DMs, singing at open mic nights and attending gigs solo to meet other musicians. Choosing a university in London was a big decision and it definitely reassured my parents that I would be pursuing music alongside a degree. I definitely considered pausing my studies, but I think uni gave me a lot of rich experiences that I could write about, and took the pressure off “making it” as an artist immediately. My parents have become more and more supportive over the past 3 years, as they see my hard work start to pay off and they witness how happy even the small wins can make me.

PHOTO CREDIT: Marcelle Johnson

You’ve released quite a few singles, Do you have a structured process for writing music or do you tend to let it flow?

Every studio session is different, but usually it’s the good songs that have come the most naturally or easily. I like to do everything in the room with the collaborator I’m with, so we’ll start with some chords, a sample, or a beat, and then I’ll brainstorm melodies and lyrics. I always voice note the first couple minutes because often the best melodies come to you straight away and then you can’t remember them if you don’t record them!

With many singles out on music platforms, when do you plan to release an album or EP , who do you plan on collaborating with?

My EP is coming out on December 2nd! It will encompass all the singles from this year, plus a couple of new, unheard tracks. It’s a body of work I’m really proud of and I can’t wait for everyone to hear it.

What fuels your passion as a singer songwriter?

It comes down to two main things: number one – my love for creating inventive, honest music that connects with listeners, and number two – my hope that someday I can influence positive change using my music and the platform I will have built by then. When I was at school and uni I played percussion / drums in orchestras and jazz bands, and nothing would compare to that nervous excitement when the orchestra plays that very first chord of the piece, and then that feeling of euphoria at the end of a concert. That post-performance buzz that I get from my gigs now is similar, and there’s really nothing like it.

PHOTO CREDIT: Marcelle Johnson

Being that you’re half British and half Asian how would you say that both cultures have shaped who you are as a person?

Being Anglo-Indian has meant my perception of my own identity has shifted and changed throughout my whole life through the process of figuring out what both aspects mean to me. At times I’ve felt disconnected to my Indian heritage, embarrassed even, and for most of my school years I just wanted to be white and blonde and that’s the honest truth. Music has helped me reconnect with this side of my identity, but I’m wary of industry folks who see my heritage as a point of ‘marketing’ – that feels inauthentic to me. I want to show other young girls with Asian heritage that you can become a popstar, even if there aren’t loads on the radio to listen to just yet. But I also want to be regarded as a great musician and performer, rather than labelled as “London’s Rising Asian RnB Pop Songstress”, because there are many of us”.

I think that the rest of this year and next will be exciting times for Asha Gold. With a string of distinct and incredible singles, together with an E.P., she has crafted this blossoming body of work that announces her as a major talent. Rather than label her and condemn having her compared to others or buried in a crowd, acknowledging Asha Gold as a singular artist with her own voice is the best approach. It will be exciting and intriguing to see what comes next from…

THIS wonderful artist.

___________

Follow Asha Gold

FEATURE: Them Too: After Dispatches’ Russell Brand Documentary, When Will the Music Industry Get Its Reckoning?

FEATURE:

 

 

Them Too

PHOTO CREDIT: Thirdman/Pexels

 

After Dispatches’ Russell Brand Documentary, When Will the Music Industry Get Its Reckoning?

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AS I am writing this…

 IN THIS PHOTO: Russell Brand/PHOTO CREDIT: Getty Images

(on Tuesday, 19th September, 2023), there is a police investigation against comedian Russell Brand. YouTube has suspended monetisation of his channel. He has had some charity gigs cancelled too. Women’s charities have also cut ties with him. The Channel 4 documentary, Russell Brand: In Plain Sight was aired on 16th September. The reaction was one of disgust and shock. With so many people suspecting that Brand was predatory and nasty, the revelations of the brave women who told their stories to Channel 4 left me gobsmacked. More allegations have since come to light. This is what The Guardian wrote for their review about the powerful documentary:

“As well as the allegations being known, by the time of broadcast Brand’s denial was also out there. On Friday night, Brand outed himself as the target of the investigation, releasing a video made for his millions of social media followers. He talked of “some very serious allegations that I absolutely refute”. Insisting that “the relationships I had were absolutely always consensual”, he speculated about “coordinated media attacks” with “another agenda at play”. This garnered him support from thousands of his existing followers, and new allies with an interest in self-identifying as brave media disruptors: several GB News presenters posted on social media appearing to take his side.

So with its allegations and the alleged perpetrator’s denial already known about, and even the culture-war battle lines around it already drawn, what currency does Russell Brand: In Plain Sight have? Plenty. As well as organising deeply harrowing testimony into a cogent narrative, the Dispatches film places the women’s claims into a wider context within the industry and our culture as a whole, pinpointing a collective culpability that resonates well beyond whatever one man might have done.

The allegations themselves are disturbing enough. Being able to see and hear the words spoken, even by anonymised interviewees filmed in silhouette or, in one case, replaced by an actor, lends every awful detail alleged a piercing immediacy.

Surrounding the interviews are the words of Brand himself, on stage, TV and radio. Even in the best-case scenario for Brand – the one in which all these specific, independent accusations turn out to be false – we view him as a sleazy, sexist creep because he has told us.

“Don’t be afraid of your own sexuality,” we see him tell a guest on his chatshow, in a clip dug up by Dispatches. “Do be a bit afraid of mine though.” During an interview on Conan O’Brien’s US talkshow, Brand told the host: “You don’t wanna be around when the laughter stops.” One old standup routine, joking about enjoying “them blowjobs where mascara runs a little bit”, spookily echos the exact words of one of the programme’s allegations.

The title In Plain Sight has been carefully chosen. Dispatches has found further evidence of Brand not hiding his misogyny, drawn from the same stint as a Radio 2 presenter that led to his biggest previous controversy in 2008, when he was fired for broadcasting crass voicemails he’d left for the actor Andrew Sachs. In retrospect, it is amazing Brand lasted as long as he did: Dispatches plays the audio of him making demeaning sexual remarks about his show’s female newsreader, and conducting an interview with a celebrity guest where he joked about sending his (named) female assistant to visit the star, stripped naked. The interviewee in question: Jimmy Savile.

Speaking to Dispatches, former BBC One controller Lorraine Heggessey boggles in retrospect at Brand’s broadcasts: “A predator, live on air on Radio 2.” Previous entertainment-industry exposes have largely concentrated on the 1970s and 80s; passing off the grim sexism of the late 00s as a distant bygone era is more difficult.

The warning about not ignoring red flags, and not indulging toxic behaviour to prioritise talent or fame, is a strong one, with acute relevance to a comedy world still riddled with misogyny: the only performer willing to be interviewed about the problem for Dispatches is Daniel Sloss, who is already known for including serious oratory about male violence in his standup routines. Why work still needs to be done – Brand is not the only comedian whose alleged behaviour is often described as an “open secret” in the industry – is summed up by a female Dispatches contributor, musing on women who might have embarked on a comedy career, met Russell Brand, then sought other employment. “Culturally, what are we missing?”.

That bafflement that the allegations took so long to come to light! This idea of Brand’s behaviour being in plain sight. One looks at some of the clips in that documentary and it is really disturbing. Someone who was given free pass and so many opportunities in spite of his abuse, grooming and assaults, let’s hope there is a reckoning where Brand is imprisoned and any other men in the entertainment industry who are similar to Brand (a police investigation has begun, so it is being handled by the authorities at the moment). The Times have written several pieces about Russell Brand. The findings in the Channel 4 come from a joint investigation by The Sunday Times, The Times and Dispatches. From articles where The Times talk about Brand’s followers almost as being in a cult, to a moving and disturbing interview, where a woman reveals Brand raped her. It chills the blood! I think that people should subscribe to The Times, as these articles accompany years of research and costs to bring all this evidence and testimony to light. It has taken so much hard work and dedication to ensure that Russell Brand’s string of assaults and rapes are brought to public attention. Many see this new movement and accusations as a part of the #MeToo movement. This is not something we have seen in Britain lately. We associate #MeToo more with the U.S. and powerful men in film like Harvey Weinstein being brought to justice and imprisoned. Many women came forward to discuss their experiences. Katy Perry (Brand’s ex-wife) and Dannii Minogue respectively called him controlling and a vile predator. It got me thinking about the music industry and how a #MeToo movement and Dispatches-style documentary has not come to light.

 IN THIS PHOTO: Dannii Minogue/PHOTO CREDIT: Pedron Alvarez/The Guardian

There are important and wonderful bodies and organisations in the U.K. that are designed to make women feel safer and ensure that are given a voice. I have mentioned Safe Gigs for Women and Safe Gigs Ireland. There is also the excellent Cactus City and the Independent Society for Musicians. These are essential organisations who are helping make the music industry safer for women. There is no doubt that, like comedy and the entertainment industry, there are many male predators. So many artists and those in the industry who have been accused of sexual crimes. Many others of harassment and stalking. Reading a recent feature by Laura Barton for The Guardian relating to her experience with a stalker made me realises the level and depth of harassment through the industry. From female journalists having their lives made hell, through to women being raped by high-profile artists, there is so much that needs tackling and addressing. Thinking about Dispatches and how it shone a light on the sexual crimes Russell Brand has been accused of – and, in my view, is undoubtedly guilty of -, I wonder when that is coming to music. For all we know, there might be an investigation taking place. Something that will form the part of a T.V. documentary.

PHOTO CREDIT: Brett Sayles/Pexels

The #MeToo movement never really reached music. There was a brief moment, yet it never materialised and spread internationally and sustained. After such an important investigation from Channel 4, The Sunday Times and The Times, many on social media looked to the music industry and some of the predatory men who are still working. If artists such as slowthai – who has pleaded not guilty to two counts of rape have been blocked from radio stations and are not performing whilst they await trial -, there are others, like Brand, in plain sight without restrictions. If anything, there is an even more massive problem of sexual assault and rape in the music industry. So many men who have committed crimes through the years but are still working. There is an epidemic and wave of sexual abuse happening right now. D.J. broadcaster and author Annie Mac and artist Rebecca Ferguson gave evidence to Misogyny In Music inquiry recently:

“Previous sessions in this inquiry took evidence from music festival organisers, music industry representatives, organisations that support women in music and academics.

The inquiry aims to uncover how attitudes can filter through to society, impacting attitudes towards and treatment of women and girls, including at live music events. MPs are exploring what steps can be taken to improve attitudes and treatment of women working in music.

Annie Macmanus, DJ, broadcaster and writer, was asked if the music industry needed to undergo the MeToo scrutiny that the film sector has received in recent years.

IN THIS PHOTO: Annie Mac/PHOTO CREDIT: Stephanie Sian-Smith

“There needs to be some sort of shift in women feeling like they're able to speak out without their careers being compromised,” she told MPs, referring to the music industry rather than the broadcast sector in which she has worked. “I don't know how that can happen. I feel like there are a lot of revelations that have not been exposed. It's infuriating the amount of women who just have stories of sexual assault, they just had to bury them and carry them, it's just unbelievable. So I do think if something were to happen, if one person were to speak that had enough profile where it got media attention, there could be a kind of tidal wave of it. Definitely.”

Rebecca Ferguson, a former X Factor contestant, has been vocal about her experience as a woman in the music industry. She has supplied written evidence to the inquiry.

Ferguson has called for a parliamentary inquiry into the way the music industry operates in the hope of “protecting artists” in the future. She met with former Culture Secretary Nadine Dorries to discuss her concerns.

IN THIS PHOTO: Rebecca Ferguson/PHOTO CREDIT: PA

Speaking to MPs today via video link, Rebecca Ferguson said the government has made progress on the issue of safeguarding.

“I would say so, yes,” she said. “I do think that the roundtable meetings that were set up did definitely improve the industry. I know that a lot of the labels, like Sony, for instance, set up things for people that were struggling with maybe mental health issues or people that were just genuinely struggling in the industry. They could go to somebody independently and Sony were paying for for them to receive help.

“So I do think it pushed the industry to do better. I don't know if it’s enough though. I know that CIISA [Creative Industries Independent Standards Authority] has been set up, and I was really vocal and tried to push that through and that’s going ahead, which is amazing. But I do think that there should be somebody, maybe from the [Department for Culture, Media & Sport] or someone from the government, that sits on top of that maybe a bit like Ofcom. I feel like it should be governed by government, because a lot of the funding for these regulators comes from the industry and it worries me about the amount of power that the industry has. So I think CIISA’s amazing, and I back that 100%, but I do think we should add one other layer of protection for that”.

 PHOTO CREDIT: Alexander Krivitskiy/Pexels

When is this reckoning coming to the music industry?! With so many great but disconnected bodies and figures stating how there is this toxicity and problem in the industry, there has not been a massive investigation or movement. I know that Russell Brand is the figure in question regarding the Dispatches investigation, though it will lead to other men through comedy and entertainment being called out. The amazing and brave women who recalled their experiences – which must have bene hugely emotional and triggering – were called out by some on social media as being opportunist or liars. This is what women have to face when they say they have been sexually assaulted or raped. The fact is this: we all need to believe women! It does not matter who they are talking about and how popular that person is. Nobody should be beyond justice and untouchable. This messianic persona that Russel Brand has built up has seen people leaping to his defence. As Marina Hyde writes in The Guardian, we need to learn lessons from this. The same can very much be true of music. I asked on social media whether now is the time that we need to see this fight and joined-up campaign to bring predators in music to justice. Many women who have talked about their experiences are tired. They have told it so many times – to police, the media or people online – and are either not believe or do not get justice. I get that there is a fatigue and sense of hopelessness. At such a watershed moment, and with public figures like Annie Mac and Rebecca Ferguson detailing the extent of the problem that is growing like a virus through the industry, abusive artists need to be stopped.

Those who defended Russell Brand means that the women who have already bravely recounted their experiences have to deal with so much hate and doubt online. I know there is a risk that women who come forward against people In the industry face that. This year already has seen artists such as Rex Orange County (who has a sexual assault charge against him dropped), Jimmie Allen, and Anti-Flag's Justin Sane of abuse. One thing that has come about online following accusations against Russell Brand is this ‘innocent until proven guilty’ line. The fact is that he has been shown as guilty through the evidence found during Dispatches’ investigation. As campaigner Gina Martin highlighted, this line is employed to “quash healthy and warranted discussion, instead of how it should be used: only ever as a legal maxim during trial”. Like in the entertainment industry, there does need to be a way of women finding out who is unsafe, predatory and abusive before it goes to trial. Before they are abused and raped. There definitely needs to be action and a concerted and immediate plan to shame and out those in music who are abusers, in addition to ensuring women are safe and there is a way of flagging men in the industry who pose a danger.

 IN THIS PHOTO: D.J. Tim Westwood/PHOTO CREDIT: Lia Toby/PA

Like Russell Brand, there are these men in music who have been accused or assault and rape who are still working and have received no real limitation and reduction in their workload. D.J. Tim Westwood is perhaps one of the most high-profile men in music who is very much under the spotlight. It is clear that he is someone who should not still be being booked at events. And yet, someone who has been accused of sexual offences continues to work:

“A sixth report of sexual offences by the former Radio 1 DJ Tim Westwood is being investigated by police.

The Metropolitan Police said they are investigating six accusations of non-recent sexual offences which are alleged to have happened between 1982 and 2016.

It comes after the 65-year-old was questioned for a third time under police caution two weeks ago.

There has been no arrest.

Last year, BBC News and Guardian investigations uncovered multiple allegations from 18 women of serious sexual misconduct and abuse by Westwood. He denied those allegations.

In April 2022, several women accused Westwood, who also worked as a DJ on BBC Radio 1Xtra, of predatory and unwanted sexual behaviour and touching, in incidents between 1992 and 2017.

They also accused him of abusing his position in the music industry. Some of the women told us they encountered Westwood when they were under 18. One said that she was only 14 when Westwood first had sex with her.

He joined the BBC in 1994 but left in 2013 as part of scheduled changes.

Westwood then went on to present a Capital Xtra radio show but stepped down in April last year.

An external report, by KC Gemma White, looking at what the BBC did and did not know about Westwood's conduct during his two-decade employment with the corporation is due to be published this year”.

The truth is that there are many more men in the industry who are in plain sight; still operating and have careers in spite of assaulting and abusing women. There is this real breaking point where I don’t think that can be the case. As I said, there are a lot of great people working to make change and protect women. Whether it is an established #MeToo movement, a documentary where some women in the industry come forward – thus leading to change and accountability – or something else, there are too many men getting away with their crimes and the women they have abused feeling scared or worried - that, if they told police, they would not be believed. The statistic are shocking. A 2022 report showed that “New scorecards show under 1% of reported rapes lead to conviction – criminologist explains why England's justice system continues to fail. In England and Wales, more than 99% of rapes reported to police do not end in a conviction”. You can read the statistics when it comes to the prolificacy of rape and sexual assault.

I do feel it is only a matter of time before we see many men within music being spotlighted and accused of rape and sexual assault. We are in a time where women feel unsafe and unheard. Sexual assault also happens a lot at gigs and live music events. There does need to be a large-scale reaction that finds its way to the police and the government. Thanks to Rosamund Urwin, Charlotte Wace, and Paul Morgan-Bentley for their tireless and vital work for The Times. I think that the outcome of the investigations against Russell Brand will see a lot of positive change. This needs to happen in music. Things cannot go on like they have. There are countless victims that have been scarred and abused by men in the industry. Rather than – as has been the case on social media from a lot of people – doubt the validity of their stories, their motives for speaking now (and not when the attacks took place) and not going to the police, we all need to realise that these women face huge scrutiny and risks if they were fabricating things. The fact is they were not. Rather than call out these victims and question their stories, every one of us needs to…

 PHOTO CREDIT: cottonbro studio/Pexels

BELIEVE women.

FEATURE: The Digital Mixtape: Cuts from Incredible Black Female Artists in 2023

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Corine Bailey Rae

 

Cuts from Incredible Black Female Artists in 2023

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THIS year has been an astonishing one…

for albums. Stronger than the past few years even, I wanted to include some of them here. In fact, this is a celebration of amazing Black female artists who have released sensational albums and singles. Spreading across multiple genres, these queens really should be on your radar. I hope I do not miss any obvious albums tracks and singles out - though I think I have covered most of them. Thanks to websites such as this, this, and this for guiding me to some wonderful albums and artists. Uniting some amazing sisters across the musical map, there are some legends sitting alongside newcomers. If you need a playlist to lift your mood, get you moving, make you think, calm you down or just leave you amazed, then I think that the below should fit your needs. Amazing songs from powerful and hugely talented Black women. Take a listen to these essential songs from…

 IN THIS PHOTO: Kamille

SOME music queens.

FEATURE: On the C-List: Do Radio Stations Need to Set Guidelines When It Comes to Who They Play and Who They ‘Cancel’?

FEATURE:

 

 

On the C-List

PHOTO CREDIT: Róisín Murphy

 

Do Radio Stations Need to Set Guidelines When It Comes to Who They Play and Who They ‘Cancel’?

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SOMEONE on my Twitter feed…

 PHOTO CREDIT: Pixabay/Pexels

trained my eye to an article from The Times that revolved around Róisín Murphy not being including on radio playlists for the likes of BBC Radio 6 Music for her views on puberty blockers and their impact on kids. It was perhaps not a fully informed comment she made, yet the upshot has been severe. Even though her new album, Hit Parade, has been met with acclaim, there is always a subtext or out-right statement. Reviewers love the music, yet they feel it is blighted or stained somehow. Below is the opening words from The Times’ article about Murphy and her being ‘cancelled’:

“A couple of weeks ago, Róisín Murphy posted concerns on a private Facebook page about puberty blockers. For those unfamiliar with Murphy, she’s a singer who has long supported the trans community, having performed at queer gigs such as Homobloc and Mighty Hoopla. On any reasonable interpretation, then, her post was an expression of concern for children, not bigotry. The backlash, though, was acute. “Trans allies” attacked her on social media and her name trended for days. A Guardian review of Murphy’s new album appeared under the headline “ugly stain”. The critic said that while she loved the music, she would “never” be able to hear it the same way again and sympathised with fans for whom the album was “DOA” (dead on arrival)”.

 

I cannot quote the whole article, as it is paywalled. It does seem that the BBC is refusing to play Róisín Murphy’s music at the moment. I don’t think she will be banned or has been cancelled. Her album is being reviewed, and she can still play live. It does appear that there is this temporary block at the moment. It does also seem that there are double standards when it comes to who is on a radio playlist and who is not. There is another article from The Times that highlights how a song that seemingly promotes violence against women has been included on a radio playlist – whilst Murphy’s music, which has no political message or controversy, is banned because of something she shared on a Facebook post (and then apologised for):

“The BBC has defended playing a song encouraging listeners to “kick” women with gender-critical views, while the singer Roisin Murphy battles for Friday’s No 1 spot after she criticised puberty blockers.

Listeners complained after BBC Radio 6 Music played They/Them by the band Dream Nails, which includes the lyrics “kick terfs all day, don’t break a sweat”. The term “terf” — trans-exclusionary radical feminist — is a pejorative term against women who oppose transgender people using female-only spaces.

The BBC dismissed objections to the song. A member of the complaints team said: “People will interpret songs with any element of nuance or ambiguity differently.”

The complaints came after 6 Music was accused of refusing to play songs by Murphy following her public criticism of puberty”.

 PHOTO CREDIT: Min An/Pexels

It does seem that a piling-on has happened which means radio stations like BBC Radio 6 Music have buckled. So many positive reviews for Hit Parade have come out, whereas they always have this warning or reservation saying that Murphy has been causing controversy and consternation. This is part of Laura Snapes’ review for Hit Parade:

“In the last two weeks, the sincerity of that expression has become compromised for many fans. A screenshot of Murphy decrying puberty blockers as “big pharma laughing all the way to the bank”, expressing concern about “mixed-up kids” and characterising “Terf” as a misogynist slur in a Facebook comment was circulated online. (A US study which followed 104 trans and non-binary youth over 12 months at a gender clinic found that those who received puberty blockers, gender-affirming hormones or both had 60% lower odds of depression and 73% lower odds of self-harm or suicidal thoughts. Puberty blockers have also long been used to stall precocious puberty in cisgender children. As of June, the NHS has paused their availability to young people outside exceptional circumstances and for research studies.) Murphy’s comments dismayed many within her vast LGBTQ+ fanbase, who she has embraced by performing at queer events such as Homobloc, NYC Downlow and Mighty Hoopla and aligning herself with drag culture. When she finally commented a week later, notably she didn’t apologise for her original assertion, only the division she had sowed, and claimed she had never targeted any particular demographic. (Also perhaps telling: Murphy has been her own manager for more than two years.) Naturally, the division only worsened, with some fans who felt betrayed cancelling their album preorders. Other supportive fans, and those with an interest in amplifying Murphy’s original views, as well as anti-cancel culture bandwagoners, made the hashtag #IStandWithRoisinMurphy trend on Twitter”.

I do wonder why there has been such a harsh punishment for Murphy. I have seen a lot of high-profile people in the industry – such as D.J. and label owner Pete Paphides – who have said that Twitter and social media is not the world. That there is a difference between a core on social media and general reaction in the wider hemisphere. It seems opinion from people there and pressure from social media has forced the hand of stations. Why has Róisín Murphy been handed quite a big punishment?! I do not agree with what she said about puberty blockers being given to mixed-up kids and this being pharma companies doing wrong. I think the subject and argument is more complex. Many people did take to social media to argue against her. That said, I have always been a fan of Murphy and her music. She has done exceptional on the album chart. Hit Parade has reached a heady position in spite of the fact that her label, Ninja Tune, stopped promotional duties. Maybe a sense of fans defying stations or merely showing their love, this whole debacle and tense situation needs resolving. I can understand how artists who have been accused of sexual assault or racism for example are taken off playlists. If we look historically, so many legendary artists who have committed crimes and assaults in the past are played and celebrated. There is no real consistency or explanation as to why stations feature those artists but ban Róisín Murphy. I don’t think an artist can be cancelled.

 PHOTO CREDIT: Oriel Frankie Ashcroft/Pexels

Her music exists in the wider world. It is radio stations removing her from playlists. Songs are played on stations that feature violence against women. There are tracks that seem to highlight very questionable messages and attitudes. That seems far worse than what Róisín Murphy has expressed, so you wonder whether BBC stations have been overly-cautious. If they continued to play her, would they be accused of supporting a perceived anti-trans agenda? This feeling that Murphy is anti-trans was refuted by her in an apology. She walked back her comment – which she did not need to do - and there is this genuine regret. After all of this, it has not made a difference. Many have said that this is a case of misogyny and sexism. That is hard to argue against! If it was a male artist, would they receive the same outcome?! In fact, as I have written before, Alice Cooper came out recently and said he feels trans people are engaging in a ‘fad’. He lost a cosmetics deal, though his music is still widely played. Compare the two situations and you find it hard to argue against the misogyny argument. What is clear is that there needs to be more love and respect given to the trans community. More artists talking about it and showing their support, rather than questioning or (maybe without meaning to) complex things. If they have concerns or a point, perhaps this is something that could be addressed in music. You might say that this is as bad as putting it on social media, though I think songs are a platform where you can talk about things like trans rights and children and it would be healthier and can lead to artists celebrating and promoting the trans community and defending their rights.

 PHOTO CREDIT: Andrea Piacquadio/Pexels

In general, it is all a bit of a mess where it seems like Róisín Murphy has been singled out. I am not sure when she will be reinstated on the playlists of BBC Radio stations such as BBC Radio 6 Music – who have championed her through the years, yet cannot forgive her for this. It is not the decision of D.J.s to exclude her music. These decisions come from station bosses. BBC Radio 6 Music’s Samantha Moy need to set guidelines or issue an explanation as to why Murphy has been taken off the playlists, and yet more problematic and seemingly dangerous artists remain. All radio stations need to do this. It does seem like singling someone out if the same standards are not applied to every artist. I can understand why stations would not play Murphy’s songs a few days after her post. Perhaps as a compromise or way of not getting too much hate. It has been nearly a month since she issued an apology - and, with a new album out, this is a time when she is losing out on air play. The fact Hit Parade has been met with universal acclaim and is one of 2023’s best demonstrates her importance, the faith and loyalty fans have, in addition to the fact that she has won new fans. My views about trans rights are very different to some other people. When it comes to artists, it is only fair those who criticise and attack the trans community should be banned or tackled. I hate the world ‘cancelled’, as it implies they will forever be banned. In terms of definition, Róisín Murphy’s intention of defending children and showing concern has been viewed by some as a slam against the trans community. Without Murphy being able to sort of plead her case, she has been taken off radio playlists.

 PHOTO CREDIT: drobotdean via Freepik

The trans community have enough to deal with in terms of ignorance and hatred. They are subjected to abuse and misunderstandings TERFs undermining them and showing vile attitudes. If anyone in music did that, then they should not be given a platform. Whilst Róisín Murphy’s Facebook post might not have been completely embracing and supportive or the trans community, neither was it an attack against them and their values – more of pharmaceutical companies and profiting. In any case, what should have been fixed with an apology has instead resulted in a ban across various stations. Will male artists get the same treatment?! Can stations explain why they are spinning tracks with very problematic and concerning messages?! There is a lot that needs to be answered. There needs to be discussion so that very important subjects such as trans rights are brought into the spotlight. So that there is better understanding and more positivity towards them at a time when thy are being abused and threatened. This situation around Róisín Murphy has brought a new wave of hatred and ignorance against the trans community. Definitely not what Murphy wanted. I am not going to get into a freedom of speech/censorship debate - as I don’t think it applies here -, though it is clear that there is misogyny and sexism at play. Let’s hope that Murphy is reinstated on radio playlist and the excellent Hit Parade is heard further and wider than it is at the moment - top five is pretty good going! Radio stations need to ask themselves some questions and explanation their rationale for banning some artists and including others. Otherwise, as we can see with Róisín Murphy, it appears that some artists are rather unfairly getting…

A raw deal.

FEATURE: In Search of Peter Pan: The Mystery, Legend and Privacy of Kate Bush

FEATURE:

 

 

In Search of Peter Pan

IN THIS PHOTO: Kate Bush received the Editors Award at the Evening Standard Theatre Awards at the Palladium, London, on 30th November, 2014/PHOTO CREDIT: Alan Davidson/Rex/Shutterstock 

 

The Mystery, Legend and Privacy of Kate Bush

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I have been having this discussion…

 PHOTO CREDIT: Trinity Mirror/Mirrorpik/Alamy

on social media regarding Kate Bush and how she releases music. There is almost something mystical and mythical. In terms of her modern promotion – everything from 2005’s Aerial onwards -, there has not been the big campaign trail. Probably something she did more in the earlier years, we do not get teaser videos, build-up or whispers of new music coming. We are all grateful that she is in communication with her fans, though some wonder whether her silence or the lack of updates signals a path towards retirement – or whether new music is being made and Bush is keeping quiet at the moment. I think we are used to artists posting everything on social media and knowing when an album comes out. We get surprise albums and ones dropped out of the blue. Most artists do not do this, as it is a little riskier and you wonder how beneficial and profitable that approach is. Those artists that have been around and we suspect might be working on something but we can’t be certain. Definitely, The Cure and Tom Waits are known for keeping a bit quiet. I think it all comes down to private life and whether an artist feels comfortable providing updates and engaging with fans about new music. I suspect that Kate Bush has written some new songs - though how are fans to know whether she will release an eleventh studio album or she is retiring?! I can appreciate it is frustrating. I was having another discussion about Before the Dawn and the fact the DVD has not be released. The live album is seven in November. Kate Bush confirmed that the set was recorded. In fact, four different performances of were actually captured. Two with an audience, and two performances on ‘dark’ nights where they could shoot close-ups. People who could not afford to go to London to see her will be deprived of seeing perhaps her last live outing. Is holding onto that DVD not putting the fans first?!

 PHOTO CREDIT: Patrick Lichfield

It is a hard balance when it comes to Kate Bush now. We all want new music and need to know that there is a sign and sense that something will come some day. Almost like searching for Peter Pan or this mythic figure in the wild (both of which she has written about!), how do we know whether this icon is going to grace us with more music?! I guess we cannot demand it. Bush does not do interviews without promoting something, so it that clash between respecting her privacy but also wondering what is happening. There have been no dates or any plans put forward for a new album. No sign that Before the Dawn will get any reissue or there will be a DVD release. If both of these things did happen, it would give fans access to a once-in-a-lifetime live experience. New material, even if it came with an announcement that this would be her last, would at least be something. I don’t know what the solution is. Wanting to keep private and work at her own pace, can expect more of Kate Bush?! After Running Up That Hill (A Deal with God) went to number one last year and Bush spoke with Woman’s Hour, she did show her appreciation to the fans. Maybe that should have been the spark she needs to release a new album. So, will there be one?! There is this situation where we will never know until Bush makes an announcement one way or another. Will she ever say anything?

The fans have no right to demand anything but, as there has been a long pause between albums, I can appreciate some impatience. In fact, by December, it will have been her longest gap between albums. The Red Shoes was released in November 1993. Aerial came out in November 2005. That twelve-year gap will be surpassed soon. 50 Words for Snow arrived in November 2011. There have been updates from Kate Bush on her official website through the years. Reissues and stuff like that, yet nothing in the form of a single or album. She did release Lyra in 2007, though that was for the film, The Golden Compass. Maybe one day an announcement will go up and that will be that. Nobody knows whether Bush has firm plans to release another album, so it is quite painful for her fans. Just some inkling or tease would be enough! We know that is not how she operates! In any case, I can appreciate there is tension mixed with desire. Fans respect Bush enormously, so we could never be angry or demanding. That said, such is the new wave of affection for her – and a new generation of people are discovering her music -, one cannot help but understand there is a perfect opportunity and moment to release something. Most of Bush’s studio albums come out between September and November inclusive. Perhaps a new album this year might be out of the question. She would normally allow a couple of months between the announcement and the album coming out. I guess it is not out of the question. I suspect the moment has passed by.

Anyone who knows anything about Kate Bush can accept that she will not be on social media and we just have to wait. There is this sense that, now she has this new fandom and legacy, so many people want to hear something new. Before, Bush had a young son and wanted to focus on home. Now her son is twenty-five, there is less reason to delay. It is a very hard situation to resolve in that sense. Bush will be taking her time and is not on a deadline. She has her own label, Fish People, and would release an album through here. In a year where we are still talking about her previous work, maybe she wants to see out 2023 and plan something new for 2024. We can but hope something materialises in 2024. Maybe Bush’s rationale for a gap this large is that we have heard from her. Her music, even if it is a song from 1985, has been celebrated. As fans look back and see why she is such a genius, they also want something fresh. It is completely understandable if Kate Bush is not releasing any other albums. I guess the fans would like to know. Same goes for the DVD of Before the Dawn. In the drawer and collecting dust, is there not any chance this will come to light?! This fevered mix of excitement, appreciation, guessing and tension is very much there. We all want to see Kate Bush be happy. If that means no more music and coming away from the public eye, the fans can get behind that. I suspect she has not done yet with new music. It is that waiting and social media silence that is deafening. She is a private person. Not one to tease an album or play any sort of media game, she is delightfully old-fashioned and pure in that sense. Doing things on her terms. I suppose the fans are owed a general answer to the question: Is there going to be a new album in the coming years? As no interview is planned where someone can ask that, it is a case of waiting – nearly twelve years now as it happens. We would all allow the blessed Kate Bush to take her time, though all we ask is that she…

GIVE us a sign.

FEATURE: The Long and the Short of It: The Scottish Album of the Year 2023 Playlist

FEATURE:

 

 

The Long and the Short of It

  

The Scottish Album of the Year 2023 Playlist

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EARLIER this week…

IN THIS PHOTO: Becky Sikasa

the longlist for The Scottish Album of the Year was announced. When it comes to award ceremonies, there is not as much media coverage as there should be. I think it is vital that we shine a spotlight on the music coming out of nations like Scotland. With such a rich history of wonderful music, some future legends and established greats are in the running. If you have not heard of SAY and want to know more about how the shortlist process works, then below are all the details:

“Recognising an outstanding album from Scotland’s past which still inspires today.

  • Winner announced in conjunction with The SAY Award Shortlist and the Sound of Young Scotland Award finalists.

  • Winning album celebrated at The SAY Award 2023 Ceremony.

  • Winner receives a bespoke art prize, created through The SAY Award Design Commission.

The Sound of Young Scotland Award

The Sound of Young Scotland Award – in association with Help Musicians, Youth Music Initiative and Youth Music – exists to drive Scottish music of the future; enabling a young and emerging artist to create their debut album.

  • Winner chosen by a panel of previous SAY Award nominees.

  • Winner announced at The SAY Award Ceremony.

  • Winner given a performance slot to showcase at The SAY Award Ceremony 2024.

  • Winner receives a funding package worth up to £8,000 to facilitate the creation of their debut album.

Applications for the Sound of Young Scotland Award 2023 open on Monday 24 July. More information (including eligibility criteria, selection process and application specifics) will be published in due course.

Key Dates

FRIDAY 30 JUNE – FRIDAY 21 JULY 2023

The SAY Award eligible albums submission period | Artists, industry professionals and music fans can submit eligible albums – for free – via sayaward.com

MONDAY 24 JULY – MONDAY 14 AUGUST 2023

The Sound of Young Scotland Award submission period | Young and emerging Scottish artists can apply to be considered for the Sound of Young Scotland Award 2023; offering a funding package worth up to £8,000 to facilitate the creation of their debut album

THURSDAY 14 SEPTEMBER 2023

The SAY Award Longlist Announcement | 20 outstanding Scottish albums will be announced as The SAY Award Longlist for 2023

MONDAY 2 OCTOBER – WEDNESDAY 4 OCTOBER 2023

The SAY Award Public Vote | 72-hour public vote at sayaward.com, securing one Longlisted album’s place in the Shortlist along with a guaranteed minimum prize of £1,000.

THURSDAY 5 OCTOBER 2023

The SAY Award Shortlist Announcement / The Sound of Young Scotland Award Finalists Announcement / Modern Scottish Classic Award Winner Announcement | 10 SAY Award Shortlisted albums, 5 Sound of Young Scotland Award Finalists and the winner of 2023’s Modern Scottish Classic Award are revealed three weeks ahead of The SAY Award Ceremony.

THURSDAY 26 OCTOBER 2023

The SAY Award Ceremony 2023 @ The Albert Halls, Stirling | Winner announcements, live performances and more”.

Last year produced an impressive shortlist. The winner, Fergus McCreadie’s Forest Floor, was a worthy winner. I am marking the longlist for this year’s SAY by putting together a playlist with a song from each of the twenty nominated albums. I think all deserve to win the award…but only one can. This year’s selection if another very strong and eclectic list! It is vital that more eyes are trained the way of Scotland. Below is just a portion of the magnificent music…

COMING out of Scotland.




FEATURE: It’s a Miracle: Culture Club’s Colour by Numbers at Forty

FEATURE:

 

 

It’s a Miracle

  

Culture Club’s Colour by Numbers at Forty

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ONE of the best albums of the '80s…

 PHOTO CREDIT: Ebet Roberts/Redferns

arrived on 10th October, 1983. Culture Club’s seconds studio album, Colour By Numbers, went to number one in the U.K. and two in the U.S. I want to mark the upcoming fortieth anniversary. In 2019, Classic Pop discussed the upbeat and colourful music and delivery at times bellied painful and serious lyrics. Maybe one reason why Colour By Numbers is so accessible is because the songs have this catchiness. There is quite a broad range of sounds through Colour By Numbers. One thing that is consistent is the quality of the songwriting. With Boy George captivating in every song, it is no wonder Colour By Numbers has endured and resonated with critics. I will come to a couple of reviews. In terms of features, there are a couple worth bringing in. I shall start with Classic Pop:

“As the nation reeled in shock when David Bowie draped his arm around Mick Ronson’s shoulder during his infamous Top Of The Pops performance of Starman in July 1972, a spark was ignited in 11-year-old viewer George O’Dowd, who recognised a kindred spirit in Bowie and made the decision to follow in the platform-soled footsteps of his idol.

Immersing himself in the glam rock, punk and New Romantic scenes, he reinvented himself as a flamboyant entity in his own right.

A decade later, George’s own appearance on the same show to perform Do You Really Want To Hurt Me elicited an equally controversial reaction to that of Bowie’s – and the charismatic singer of indeterminate gender was baptised pop’s hottest property.

Although the initial reaction to Boy George’s androgynous look had shifted between negative (he was crowned ‘Wally Of The Week’ by renowned TV critic Nina Myskow) and bewildered, his talent was undeniable and the soulful reggae of Do You Really Want To Hurt Me made Culture Club a global phenomenon.

As the band relentlessly promoted the song, getting back in the studio to work on new material was at the forefront of their minds. Do You Really Want To Hurt Me had proved third-time lucky for them, following the flop of their first two singles White Boy and I’m Afraid Of Me and, feeling that their debut album Kissing To Be Clever lacked anything else worthy of being a single, the band was concerned about the prospect of becoming a one-hit wonder.

One of the first new tracks they recorded, Time (Clock Of The Heart) was rush-released in November 1982 and alleviated those fears, giving them a second Top 10 hit.

A sublime slice of blue-eyed soul, the track served its purpose of keeping the band in the public eye – and the charts – while they crafted their second album amidst one of the most competitive times in music, with Wham!, Duran Duran and Spandau Ballet all vying for the attentions of Britain’s teenagers.

“With so many great bands around, people can forget about you really quickly – especially when you’re a new band,” George said at the time. “So for us, it’s important to just keep pushing the records out so that we don’t lose our momentum.”

Describing themselves as “an Irish transvestite, a Jew, a black man and an Anglo-Saxon”, the band’s name was an allusion to their differing ethnicities and it was the fusion of those different backgrounds and influences that gave them their signature sound.

With producer Steve Levine on hand to mould the varying styles into a cohesive sound, and support from powerhouse backing vocalist Helen Terry and keys player Phil Pickett among others, the sessions for the second album showed a marked progression from Kissing To Be Clever, which had been more a collection of demos recorded as the band found its identity than a body of work.

“This next album is going to prove that we’re very musical,” George said in an interview with The Tube in early 1983. “It’s a lot more mature and sophisticated than Kissing To Be Clever. We work very closely with Steve Levine, who is almost the fifth member of Culture Club. We all have the same idea of what we want the end result to be, which is essentially a well-structured pop song, and we have developed our own sound now. A lot of bands are wanting to work with Steve to achieve the ‘Culture Club sound’ but it’s not possible, because it’s a collaboration – it’s not a situation like a lot of bands who don’t know what they want to sound like, so the producer ends up taking over.

“Roy and Mikey love the new machines – the Fairlights, and the computers – while Jon and I prefer an acoustic sound, really rough and soulful. So we mix both to get a fine balance.”

Achieving that result had proved anything but smooth. “We’re very adult in our approach to the studio, but we fight a lot in the rehearsals,” George said. “There’s a lot of throwing coffee over each other and guitars being thrown, that sort of thing.”

Years later, an insight into the machinations of Culture Club at this time was revealed when a recording taken during the making of Victims, in which the band tore into each other, was leaked onto the internet. Finding it hilarious in retrospect, the argument was entitled Shirley Temple Moment and released as a track on the band’s 2002 career-retrospective boxset.

While Culture Club’s music was a collaborative effort, the song’s lyrics were strictly George’s domain. “I write all the lyrics,” he said. “I never sing anyone else’s lyrics – they all come from a very personal basis and are about what’s going on in my life, in my relationships at the time – they’re deeply personal.”

Although George and drummer Jon Moss’ relationship wasn’t public knowledge by this point, their tempestuous union was the basis for much of Culture Club’s material.

As millions of fans unwittingly sang along, their biggest hit, Karma Chameleon was a visceral depiction of a volatile relationship with lyrics such as: “I heard you say that my love was an addiction/ When we cling, our love is strong/When you go, you’re gone forever, you string along” and “Everyday is like survival, you’re my lover, not my rival”, a theme prevalent throughout the rest of the record.

On the surface, Colour By Numbers is a poppy, upbeat record fizzing with catchy melodies and sing-along choruses. Scrubbed free of its make-up of glossy production and soulful vocal stylings, it’s a tortured depiction of a dysfunctional relationship.

Following in the footsteps of Fleetwood Mac and ABBA, Culture Club turned their misery and melancholia into musical magic. Writing in his autobiography Take It Like A Man, George described the band’s output as: “Simple pop songs with blatant messages to the boy I loved – my pain was seeping into the songwriting.”

Preceded by No.2 hit Church Of The Poison Mind, and Karma Chameleon, which spent six weeks at No.1, Colour By Numbers was released in October 1983.

Critics praised the album’s mix of blue-eyed soul with pop, gospel, reggae and jazz, citing it as a huge musical progression from Culture Club’s debut, particularly on the epic ballad Victims (released as the third single in November 1983)”.

Before coming to some of the critical reviews for Colour By Numbers, there is a great feature from Albumism that discusses the impact and legacy of Colour By Numbers. They also discuss how Culture Club developed after their 1983 success. An undoubted classic, it has been certified triple platinum in the U.K. and quadruple platinum in the U.S. It was ranked number ninety-six on Rolling Stone’s list of the 100 Best Albums of the 1980s:

“Kissing to Be Clever was a critical and commercial triumph producing five charters overall. Out of those five singles, three of them—“Do You Really Want to Hurt Me?,” “Time (Clock of the Heart)” and “I’ll Tumble 4 Ya”—went on to become sizable singles on both sides of the Atlantic by the summer of 1983. At that junction, Culture Club had already begun work on their sophomore set, Colour By Numbers.

The group weren’t keen on their legacy resting on just one platinum record; their vision for Culture Club was much bigger than that. Particularly for O’Dowd, better known by his stage moniker Boy George, the quartet’s second outing was central to extending their longevity. O’Dowd had taken great care to incorporate a striking visual presence for himself and his bandmates; now, it was time to ensure the music continued to get that same attention to detail.

Culture Club once again enlisted the services of producer Steve Levine. Levine had worked closely with the band on Kissing to Be Clever and had a solid grasp of the outfit’s work ethic and creative autonomy. This element is core to Culture Club and Levine getting on the same page in relation to them flipping the heavier, funkier sonics of Kissing to Be Clever into something lighter and more melodically focused for Colour By Numbers.

This aural switch is immediately noticeable on the record’s opening piece—and second single—“Karma Chameleon.” The sprightly gem laden with catchy harmonica riffs (courtesy of Judd Lander) is beautifully understated on the whole, but still insistent with its irrepressible hook.

With exceptions issued to the sides “Miss Me Blind,” “Mister Man” and “Man-Shake”—the latter composition cast as a B-side to one of the LP’s eventual singles—much of the overt dance and reggae vibes were largely absent on the band’s sophomore collection. The awareness and intent in Culture Club’s usage or heightening of other music tones on Colour By Numbers is both striking and refreshing. Some of those tones include jazz-fusion (“Changing Every Day,” “Stormkeeper”), torch songs (“Black Money”) and classic soul (“Church of the Poison Mind”). All of them are expressively communicated by the superb playing of Craig, Hay and Moss with the additional augmentation of studio session musicians as needed.

What did stay unchanged were the lyrical thrusts of each song, with O’Dowd joined by his colleagues in the scripting of each track present on the long player. However, O’Dowd led as the primary songwriter in relation to setting the emotional mood for the compositions.

Much of O’Dowd’s tumultuous relationship with Jon Moss—then hidden from public view—supercharged nearly every cut on Colour By Numbers. Specifically, “Karma Chameleon,” “Black Money,” “Victims” and the title song (another alternate side to one of the project’s singles) possess a weighty romantic pathos partially masked by their impressive pop song structuring. Bringing the gravitas of the material home is O’Dowd’s soulful vocal delivery. On occasion, O’Dowd got some powerful support from the inimitable backing singer Helen Terry that yielded even more emotional energy to these already riveting pieces.

Released in early October of 1983, Colour By Numbers was a textbook critical, commercial and creative success. The LP in its entirety (as well as it singles) made Culture Club global ambassadors for the New Romantic guard overnight. Follow-ups were issued hastily in 1984 (Waking Up with the House on Fire) and 1986 (From Luxury to Heartache) before Culture Club disbanded acrimoniously to pursue separate career paths as has been well documented.

In the slipstream of their parting, Culture Club later embarked upon several (mostly) friendly reunions between 1998 and 2018. Don’t Mind If I Do (1999), their excellent fifth studio effort, was their first formal recording to result from their initial reunification. It preceded the 2003 reissue of Colour By Numbers that notably restored all of the B-sides from its corresponding singles onto the album proper for collectors.

And though the roots for their forthcoming sixth affair Life stretch back to their 2014 reformation, longtime fans eagerly anticipate yet another solid batch of pop-soul numbers from the group due for release in October this year. It’s a standard Culture Club set for themselves early on in their canon with Colour By Numbers. The album holds fast to a musical and lyrical timelessness that continues to thrive well past the era of its origin, something every recording artist often aspires to but doesn’t always achieve”.

I will finish off with a couple of reviews. I am going to start with AllMusic’s opinion on a New Wave classic. Produced by the legendary Steve Levine, key cuts like Karma Chameleon and Church of the Poison Mind are played regularly to this day. Colour By Numbers remains Culture Club’s defining statement. Boy George, Roy Hay, Mike Craig and Jon Moss created a masterpiece:

“Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later”.

I am going to end with a review from Rolling Stone. They reviewed Colour By Numbers in 2003 on its twentieth anniversary. Twenty years after that review, there is no doubt Culture Club’s second studio have survived the test of time:

“Culture Club's Colour by Numbers secures lead singer Boy George's place as a blue-eyed soul balladeer of the first rank. If he has yet to match the heights of the soul elite – the delicate refinement of Smokey Robinson or the rich gospel fervor of Gladys Knight, both of whom he sometimes resembles–Boy George is still artistically the real thing, a singer who continually and instinctively communicates passion in an era awash with cynical pseudosoul poseurs.

Colour by Numbers is by no means a weighty album. Like Kissing to Be Clever, Culture Club's second LP comes from the same school of trendy British pop that's produced ABC, Wham! U.K., Haircut One. Hundred and a dozen other brands of musical candy whose recipes blend synth-pop, Motown and third-world flavors. But unlike other albums of similar ilk, Colour by Numbers has gobs of emotion plastered as thickly as Boy George's makeup, and ten tunes that stick. And the band – drummer Jon Moss, keyboardist-guitarist Roy Hay and bassist Mikey Craig–cooks up a percolating brand of synth-pop that is more than just a quick, superficial ripoff.

Musically, "Karma Chameleon" recalls James Taylor's version of "Handy Man," though it's accelerated, synthed-up and frothed into a creamy sundae sprinkled with bluesy harmonica licks. The breezy pop-soul calypso "It's a Miracle" is one of several cuts in which Boy George faces off against backup singer Helen Terry. Theirs is a provocative match, rather like Michael Jackson and Aretha Franklin, in which Terry's scat-singing tough mama responds to Boy George's imploring vulnerability with maternal strength. In the hauntingly lovely "Black Money," the relationship between the two is at its deepest and most mysterious. Boy George's repeated question, "Do you deal in black money?" provokes a gospel-style interchange that implies at least two different dialogues–one between a boy and a woman (possibly a prostitute), the other between whites and blacks.

Other songs gloss Latin dance music ("Changing Every Day"), Latin-inflected light funk ("Church of the Poison Mind," in which Terry growls like Patti LaBelle in a huff) and calypso-flavored pop-funk ("Stormkeeper," "Miss Me Blind"). In "Victims," a sprawling, churchy ballad, light symphonic orchestration replaces the silky, synthesized textures of the rest of the album. "Feel like a child on a dark night/Wishing there was some kind of heaven," Boy George muses. Both the vocals and the arrangement suggest that he is probing a deeper spiritual realm than the usual masochistic romantic delirium of dreams, love and emotions–words that course obsessively through the songs.

The rollicking calypso "Mister Man" politicizes the dark night of the soul that Boy George begins to approach in "Victims." The unpredictable, potentially murderous "man" of the title is a generalized enough symbol of fear and desire to be taken as a white oppressor, a street hustler or any macho bully. But while Culture Club's "we are all races, all sexes, all musics" pose is honorable, it's ultimately quite shallow. Smatterings of soul, calypso and funk in synth-pop packaging do not add up to a very significant musical cross-fertilization. Happily, Colour by Numbers makes less of this pose than did Kissing to Be Clever.

When Culture Club first appeared on these shores last year, it was difficult to imagine that Boy George would quickly become a bona-fide pop star and fashion plate with a legion of female admirers. With his lipstick, dreadlocks and hieroglyphic shmattes, he looked like an overweight, teenage sissy desperately trying to grab people's attention. And when he pleaded, "Do you really want to hurt me?" one could imagine that plenty of guys would be sufficiently provoked by his coy androgyny to do exactly that. For unlike David Bowie in his transvestite period, Boy George was no icy alien parading at a safe emotional distance. Instead of concealing his "girlish" feelings, he flaunted them, putting his heart on the line along with his fantasies.

But with all its dripping sweetness, Boy George's singing also contains a rich undercurrent of humor. While his sob is genuine, he is also wise enough to recognize the silliness of such teenage languishing. And it's that sense of humor–Boy George's knowingly excessive romanticism, his graceful acceptance of his own klutziness, his irrepressible pleasure at the foolishness and fun of pop – that redeems Culture Club from any pretentiousness.

Whether you like the band or not, Culture Club is one pop group that matters”.

With album tracks as strong as the singles, the colourful, flamboyant and mesmeric Colour By Numbers is going to find new fans for decades to come. One of the all-time great albums, Colour By Numbers turns forty on 10th October. If you have not heard the album for a while, then go and make sure that you…

SPEND some time with it.

FEATURE: Right Then, Right Now: Fatboy Slim’s You've Come a Long Way, Baby at Twenty-Five

FEATURE:

 

 

Right Then, Right Now

  

Fatboy Slim’s You've Come a Long Way, Baby at Twenty-Five

_________

ONE of the most important and popular albums…

of the 1990s turns twenty-five on 19th October. A number one hit here and a big success in the U.S., Fatboy Slim’s (Norman Cook) second studio album, You’ve Come a Long Way, Baby, is one of those albums impossible to ignore. So epic and intricate, I love that there is bombast and House volume alongside intricate turns and twists. Details, colours and sensations mixing together in this feast for the senses! I want to highlight a couple of reviews to mark its upcoming, glorious twenty-fifth anniversary. I think that You’ve Come a Long Way, Baby is among the most celebrated albums of the 1990s. It arrived at a time when Big Beat music was ruling. Such an exciting time for British music, we had this incredible albums that were uniting people around clubs and dancefloors. Whilst some of the albums from that time sound dated, You’ve Come a Long Way, Baby still seems fresh and interesting. We do not really hear too many albums that have that blend of accessible House, Big Beat epicness and Techno joy. If we do, it does not hit as hard and endure as long as Fatboy Slim’s gold! I want to come to an article from Udiscovermusic.com. Earlier this year, they spotlighted an album that arrived on 19th October, 1998 - and made this instant and emphatic impression on the musical landscape:

“In the mid-to-late-1990s, Big Beat was dominating UK dance music, thanks to The Prodigy, The Chemical Brothers, and a Brighton-bred producer named Fatboy Slim who had begun tantalizing audiences with his sample-heavy, bombastic debut Better Living Through Chemistry. Each of these artists brought a little bit something different to Big Beat – a twist on acid house, techno, and rap breakbeats crammed into a traditional pop structure. But it was Fatboy Slim’s 1998 album, the massive, groundbreaking, discourse-shifting You’ve Come a Long Way, Baby, that cemented the sound as the world’s most exciting party.

With You’ve Come a Long Way, Baby, Fatboy Slim – born Norman Quentin Cook – blended ecstatic build-ups of the rave scene with the “guess the sample” playfulness of 90s rap. (At the time of the album’s release, websites like WhoSampled were still years away.) Some of the samples were relatively obvious. (“Praise You” nicked a guitar from “It’s a Small World” and an electric piano from Steve Miller Band.) Others were more obscure. (The iconic “funk soul brother” Lord Finesse sample was from the only release that ever bore the artist name Vinyl Dogs.) What united it all, however, was the overarching sense that Fatboy Slim was having tons of fun putting all this stuff together.

That extended to the videos that were created as part of the album. The Spike Jonze-directed clip for “Praise You” likely made You’ve Come a Long Way, Baby even more of a success in the United States, due to its constant airing on MTV. The one line script for “Gangster Trippin’”? “Blow stuff up.” Director Roman Coppola was happy to oblige. European Fatboy fans got an extra treat with the video for “Right Here, Right Now,” which referenced a beloved French children’s show from the late 1970s. (Not that you needed to know much to enjoy its hilarious race from the Big Bang to 1998.)

You’ve Come a Long Way, Baby was a hit in both the US and the UK, a huge step up in commercial success from Fatboy’s 1996 debut Better Living Through Chemistry. That 1996 album was more in thrall to dance music, with songs like “Everybody Needs a 303.” What made You’ve Come a Long Way, Baby such a different beast was the in-your-face vocal samples and a relentless focus on merging pop music and electronic music structures. It became a turning point for Fatboy and electronic music as a whole, culminating a few years later with an iconic 2002 concert in Brighton Beach, in which an estimated 250,000 fans came to see him spin records. You’ve Come a Long Way, Baby, though, is where everything started”.

There are a few things I want to throw in. Apologies if there is any repetition or overlapping. The Student Playlist celebrated and dissected a '90s classic for a feature marking twenty years of You’ve Come a Long Way, Baby (in 2018). This is an album that was almost ubiquitous when it came out. Accessible and yet not too commercial, you can see why so many other artists were influenced by it:

“By the mid-Nineties, off the back of his success as a member of The Housemartins (the band that spawned The Beautiful South), Norman Cook was an important figure in British underground and chart music, but who was absolutely not a celebrity. He had been the brains behind smash hits by the likes of Freak Power and Beats International, and was a resident DJ at the popular Big Beat Boutique in Brighton. The success of those club nights had spawned the Skint Records label, and Cook was then responsible for one of the imprint’s earliest successes with his debut Fatboy Slim album Better Living Through Chemistry in 1996. Label boss Damian Harris presently asked Cook to make an album that sounded like the music he played at post-Boutique after-parties – as Harris put it, “hip-hop at the wrong speed”.

One breakthrough that had signified the future for Fatboy Slim had been Cook’s totally wired remix of Wildchild’s ‘Renegade Master’ in 1997, which transformed the old-skool leanings of the original into something distinctively ‘big beat’, bringing the breakbeats and crazy vocal modulations typical of the sub-genre into the mainstream for the first time. He had done the same to Cornershop’s ‘Brimful Of Asha’, sending it to number one in the UK in remixed form at the start of 1998.

The Fatboy Slim guise seemed to be the vehicle that most suited Cook, though – one which gave him the freedom of his extensive and eclectic record collection. Recorded entirely on a beaten-up Atari ST computer, with just Creator software and a mass of floppy disks, You’ve Come A Long Way Baby seemed to entirely sum up Cook’s carefree, fun and DIY approach to music. It also allowed his personality to shine through in a way that Better Living Through Chemistry hadn’t, for all its hard-hitting consistency.

SUBSTANCE

It’s Cook’s brilliant eye for sampling, picking sonic material that could be both humorous and poignant, that makes You’ve Come A Long Way Baby such a compelling and refreshing listen. Vocal snippets looped and swooped around cut-up portions of old, obscure records from hip-hop, soul, gospel, funk, surf-pop and rock to create a fun, slightly scruffier and more accessible variant on the techno of the likes of Underworld and Orbital from earlier in the decade, and one which could appeal to the rock and pop mainstream. Thereby, Cook had hit upon an album with universal attraction, one which would appear in record collections alongside Oasis or Madonna and still make sense.

Strangely, for a record compiled in end-of-the-century Brighton, You’ve Come A Long Way Baby evokes a timeless and distinctly American sense of cool. Everything you need to know about the album is referenced in its packaging. The image on the back of the CD cover is of a lonely American desert highway stretching into the horizon; the vast musical galaxy from which the album is stitched together is seen in the stacks upon stacks of dusty vinyl on the inside cover; and of course, the front cover image of the obese, carefree young man taken at the 1983 Fat People’s Festival in Danville, Virginia – whose identity has never been revealed, despite lots of enquiries.

The American fixations are immediately apparent in ‘The Rockafeller Skank’, the album’s lead single released at the height of the World Cup summer of 1998, was nothing short of the most memorable pop song of that year. Based on a Northern Soul guitar sample (Just Brothers’ ‘Sliced Tomatoes’) and a chopped-up B-boy vocal, with a slowed-down and sped-up beat bridge in the middle, it’s a party-starter that stands for raw, undistilled fun even two decades later. It reached no.6, but each of its three subsequent singles registered a higher position in the UK Singles Chart over the next 12 months, marking the start of the success of its parent album. The deliriously loose, wrong-speed hip-hop of ‘Gangster Trippin’ took Fatboy Slim into the Top Three as You’ve Come A Long Way Baby entered the British Albums Chart at no.2 in late October, but it would be the following single that took it to the summit and then into the stratosphere.

Released in early January 1999, the bewitching ‘Praise You’ became Fatboy Slim’s signature song when it hit no.1, coupled with a superb award-winning budget video by Spike Jonze. Based around an a-cappella sample of Camille Yarbrough’s spiritual anthem ‘Take Yo’ Praise’ and set to a soulful, uplifting and beautifully simple piano figure, it became a gold-selling single in its own right, selling 400,000 copies. Around the same time You’ve Come A Long Way Baby took off properly, staying near the top of the British charts for most of the rest of 1999, vastly exceeding even the most optimistic projections for it.

One more single was released for good measure, with the transcendental, sweeping sense of occasion of ‘Right Here, Right Now’ hitting no.2 in April 1999. In its context as You’ve Come A Long Way Baby’s album opener, it’s a low-key house classic that soars and glides in its intensity before its beat drops. The magic comes with its repeated chant, that makes it seem like a mass exhortation to bliss, propaganda rather than mere pop. The spoken word segue that links it to ‘The Rockafeller Skank’ is still enjoyably silly!

But You’ve Come A Long Way Baby doesn’t begin and end with its four smash singles. The rest of the album is populated with maddeningly infectious juxtapositions of genres. ‘Soul Surfing’ is a hedonistic party starter; ‘Love Island’ is a rubbery house banger; while ‘Kalifornia’ and ‘You’re Not From Brighton’ strut and peacock with a sense of purpose. The delightfully gratuitous obscenity of ‘Fucking In Heaven’ gave the album a frisson of transgression for us as 12 year old fans at school. Again, while this wasn’t strictly groundbreaking in originality terms (DJ Shadow had already done all this on the massively influential …..Endtroducing in 1996), that’s really not the point – it’s the structuring, and the forcefulness of its execution, that’s so revelatory here”.

There is a special reissue coming in October to mark twenty-five years of a classic. In 2018, Long Live Vinyl wrote about You’ve Come a Long Way, Baby when a BMG reissued it as part of its Art of the Album series. I wanted to share some extracts from the feature:

“take yo’ praise

While other Fatboy tracks ring out with the dislocated rhymes of B-boys, the single Praise You is a far more seductive affair. Starting out with the intimate tones of 70s soul singer Camille Yarbrough as she near enough sings the name of the album, the song is another example of the record’s wicked way with obscure sounds of yore. A bar-room piano gets paired with the vocals, as baggy beats help to create a sound described by Vibe Magazine as “Manchester shambledelia”. Arguably, it’s the British influence which made the Fatboy Slim sound unique, a fact that often gets lost amidst all the very American vocal samples used on the record. The sound of the UK can be heard all over …Baby, from the horn-led climax to Praise You, which sounds like a marching Lonely Hearts Club band parading its way down Brighton Pier, to the updated glam-rock stomp of Build It Up – Tear It Down, making its way even onto unclassifiable B-sides such as Sho Nuff, which is built entirely around the soft-rock prance of a British telly jingle, no less.

Perhaps because of its dual-audio heritage, or the song’s ‘big beat with a big heart’ appeal, Praise You ended up a massive hit on both sides of the Atlantic, helping the album to go platinum in the US.

“It’s one of those tunes I’ll always have an affection for,” Cook admitted in the DJ Mag interview. “It’s the fact that the lyrics are so timeless, and one lyric fits all.”

Music site Thump recently suggested that Praise You “marked the pinnacle of big beat’s American crossover, and the genre’s zenith before its swift decline.” But that would be forgetting the majesty of next single Right Here, Right Now, a tune which sounds as epic today as it did 20 years ago. Like Praise You, the album opener is an anomaly of sorts on the LP, riding as it does on a swell of melodramatic strings. Its closest counterpart is the instrumental Love Island, which swoons near the end of the album with easy-listening strings beamed in straight from the 1950s.

The magic of Right Here, Right Now lies in the chant of its title. Once again, Cook reduces the human voice to another cog in the mix, with one voice turned into an indecipherable breakbeat section, and the other sloganeering somewhere in that grey area between pop and propaganda. Things reach an epic crescendo, before ending with a real-life phone-in as a Fatboy fanboy begs a US radio station for some “Rockafeller Skank”. From reverence to more British irreverence, all in under seven minutes.

So Why Try Harder?

Reverence, though, should be paid to the album, no matter how tongue-in-cheek things get. Consider its influence over the years, inspiring the likes of The Chemical Brothers to add more whimsy to their beats, and Basement Jaxx more unusual and in-your-face samples (as on 2001 single Where’s Your Head At). Newbies such as Mylo soon debuted with the cheeky house subversion of Destroy Rock & Roll, whose hit title track sampled an American preacher denouncing the 80s pop scene. Norman Cook no doubt approved.

Sample culture really did get a major boost from You’ve Come A Long Way, Baby, with fans taking as much delight in tracking down samples as from hearing them in the first place. Acts such as The Avalanches hit fame through such fervour, with their classic debut in 2000 not being a million miles away from the Fatboy sound. More recent counterparts, meanwhile, include acts such as Major Lazer, Duck Sauce and Skrillex, who raised similarly boisterous flags high on the 2010s dancefloor”.

I shall come to some reviews now. The vast majority of the ones I have come across are glowing. I want to begin with Entertainment Weekly’s take on You’ve Come a Long Way, Baby. They reviewed the album when it came out in 1998.

“What exactly is a DJ in 1998? Someone who spins at clubs and weddings – or an electronica act that stitches together bits of vintage records to form a new collage, which may be danceable? To Norman Cook, the British club-scene veteran who now records as Fatboy Slim, both definitions blend into an animated whole. “The Rockafeller Skank” – the Fatboy single released this summer and now on his second album, “You’ve Come a Long Way, Baby” – is Cook’s masterstroke of big-beat DJ culture. Underneath a looped vocal snippet from a rap record by Lord Finesse, Cook concocts a constantly morphing undercurrent – from spy-movie guitar to Zeppy drums to an eardrum-piercing squeal. It’s a block-rocking beat that deliciously subverts pop formula, in which lyrics change while the music remains the same.

Little on “Baby” is as extraordinary as that single, but it’s not as if Cook doesn’t try. Even on routine tracks, Cook adds splashy samples of rock guitars, electro-funk synths, or reggae licks – anything he can to pump…you…up. “Praise You,” the album’s other outright gem, lifts a languid snippet of soul-gospel singer (and kids’-book author) Camille Yarborough’s “Take Yo Praise” and makes it a techno mantra – Des’ree for the ecstasy crowd. Cook also loves to work soul oldies into his computer-generated raves: The riotous “Soul Surfing” is like a visit to a chitlin-circuit roadhouse along the Information Superhighway.

Other than the way it deftly blends obscure records, there’s nothing subtle about Fatboy Slim. “Baby” is clever, hectic, relentless – and very of its time. It’s music desperate to be noticed above the din of TV, movies, the Net, and the zillions of other records out there. Pop culture, meet your needy spawn”.

Similarly, NME had their say in 1998. I remember when You’ve Come a Long Way, Baby was released. I was in high school, and we all knew it was a big moment for music. Singles like The Rockerfella Skank and Right Here, Right Now were huge. There was this genuine feeling that music had peaked. Like something life-changing was with us. Of course, that might be the hyperbole that comes with youth. There is no denying the fact You’ve Come a Long Way, Baby was a hugely important release:

“A few short years ago, Quentin 'Norman' Cook was staring poverty, divorce and imminent nervous breakdown in the face. Despite a string of inspired chart-pop identities, the former Housemartin was out of luck and out of fashion. The solution, audaciously enough, was to reinvent himself once more, this time as the Noel Gallagher of '90s dance music.

No, really, hear me out. Both Norm and Noel share a Midas-like gift for populist sing-along anthems which tap directly into the national psyche. Both are bright sparks who have built their kingdoms on shamelessy dumb, angst-free hedonism. Take the analogy one step further and this second Fatboy album is surely the '(What's The Story) Morning Glory?' of big beat, right? Well, arguably, yes. After all, this is the huge, throbbing, timely pinnacle of a style which Cook himself pioneered and which can probably progress no further without imploding into self-parody.

It also contains at least two definitive late-'90s pop milestones - 'The Rockafeller Skank' and imminent 'Gangster Trippin' - plus a smattering of equally brazen candidates for immortality. Of course, the true test is what Cook delivers in addition to these platinum-plated hits. Even the Fatboy himself admits to being a singles specialist who generally loses it over the long haul. But here, for maybe the first time, he demonstrates commendable stamina. The best tracks don't aim to emulate the crowd-pleasers but veer off on their own tangents, like the belting '60s-meets-'90s rare groove of 'Soul Surfing' or the beatific 'Praise You', a melding of dreamy gospel and piano-powered beats with a warm 'Screamadelica' vibe. Magnificent.

Sure, there are throwaway one-liners like 'Fucking In Heaven' (loads of juvenile swearing set to a funky beat - genius!) plus functional club tracks like 'Build It Up, Tear It Down' (anyone remember SAW's 'Roadblock'?) but most are redeemed by Cook's saucy cheek and undeniable affection for his vintage source material. Crucially, there is an unforced and easy-going love of soul music evident here which contrasts starkly with the po-faced, anally 'authentic' checklist of cool references underpinning more 'serious' dance projects - the UNKLE album, say.

Ironically, the Fatboy even employs a DJ Shadow sample at one point, but he's equally likely to namecheck Pinky & Perky. This is not an album for old-skool trainerspotters. So has Norman Cook really made the '...Morning Glory' of big beat? He almost certainly doesn't care either way, which is entirely fitting, but you can't help suspecting he's too sussed to record a 'Be Here Now' for breakbeat kids. And even if the tides of fashion turn against his cheap-and-cheerful party style next week, you can be sure the Fatboy has the limitless joie de vivre and barefaced cheek to reinvent himself yet again, somewhere down the line. He's come a long way already, and this mighty album is his career peak to date. Check it out. Now.

8/10”.

I am going to wrap up with a 2010 review from the BBC. Not just a smash in its time, the magnificent You’ve Come a Long Way, Baby has inspired so many other artists and very much kept it alive. Songs from the album are played all across radio. It is a work of brilliance that will never lose any of its relevance and brilliance:

“Twelve years on from the release of this second album, some things have inevitably changed. A lifetime away from hard-partying origins, Norman Cook’s raised two kids, celebrated a celebrity marriage, reconciled a celebrity marriage, hit the bottle, beat the bottle and, when he had the time, released heady collections of genre-defining anthems. At times, Cook’s life has played out replete with typical DJ clichés. But his place in the dance music annals as Fatboy Slim has long been confirmed.

You’ve Come a Long Way, Baby set the quintessential tone for Fatboy’s future; an album rich with the booming, easy-on-the-ear potential that would soundtrack dancefloors for over a decade. Packing in rave reminiscences, loops, breaks and an endless array of choice samples, the formula wasn’t a complicated one, but it was one used to superlative effect.

Take the rabid commercial success of The Rockafeller Skank, the uplifting gospel-tinged Praise You and the explosive Gangster Trippin’ (each ably supported by memorable videos), and the Fatboy blueprint is clear. And the holy trinity can be seen as the catalyst for a career of stellar success. By hook (and it was often an incessantly catchy one) or design, this was also an album that lit the torch paper for Cook’s biggest criticism: that he was merely a musical magpie, pilfering the shiniest, choice cuts to make his own creations glisten.

Attempts to relegate Cook to a petty music thief was always a disrespectful low blow, and one that looked to undermine, instead of celebrate, a penchant for recycling and absorbing a glut of disparate styles under the inimitable (at the time) Fatboy banner. But with the benefit of retrospect, it’s clear You’ve Come a Long Way, Baby wasn’t an album in the collective sense, more of a sparkling showcase; a flattering production line of instant, accessible songs that delivered almost every time.

It’s easy to overlook the hedonistic energy of Love Island; the expletive-ridden simplicity of F***ing in Heaven – which delighted a generation of potty-mouthed teenagers – and the bristling, adrenalin drip of Right Here, Right Now, simply because there was always the potential and intent for each track to usurp what preceded.

Undeniably this is an album that’s aged, but it reflects the buoyant excitement of pre-millennial times. Whether it’s held up as a contemporary guilty pleasure or an increasingly fond classic, or whatever the context, You’ve Come a Long Way, Baby has never failed to immediately delight”.

On 19th October, we will celebrate twenty-five years of a classic. I am as fond of You’ve Come a Long Way, Baby now than I was when it came out and I was fifteen. Even though Fatboy Slim did not reach the same heights on subsequent albums, that is not to take anything away from the importance and legacy of his remarkable second album. Rather than cast our minds back and talk about You’ve Come a Long Way, Baby as a thing of the past or relevant to its time, we need to realise how important it is to this day. We need to embrace and salute this album…

RIGHT here, right now.

FEATURE: Second Spin: PJ Harvey - Is This Desire?

FEATURE:

 

 

Second Spin

  

PJ Harvey - Is This Desire?

_________

THERE are a couple of reasons…

 IN THIS PHOTO: PJ Harvey in 1998

why I am spotlighting PJ Harvey’s fourth studio album, Is This Desire? I think it may be her most underrated album. Whilst it did receive some acclaim upon its release, it is an album that still divides some. Not as celebrated as, say, Dry, or Stories from the City, Stories from the Sea, Is This Desire? arrived three years after the superb To Bring You My Love. That album is often ranked alongside some of the best of all time. Is This Desire? is a different beast compared to To Bring You My Love. It was recorded during a particularly difficult time in Harvey’s life. If some critics place the album low on their ranking of PJ’s Harvey’s discography, she herself has said in interviews how this is her favourite. This is the one she is proudest of. Harvey put her all and everything into each song. It really shows! Released on 28th September, 1998, it is celebrating its twenty-fifth anniversary soon. You can grab the album on vinyl and give it a new spin. If you have never heard the album, then I think it is a good investment. There is also an album of demos from Is This Desire? that is a steal at this price. That gives more context and contours to the album and how the songs developed. No PJ Harvey album is overlooked or receives average reviews. I feel Is This Desire? warranted more huge reviews and bigger acclaim than some afforded it in 1998. Maybe retrospective reviews have been fairer – as Is This Desire? is now considered a classic. I will get to a couple of the positive reviews for Is This Desire? soon.

I would suggest people read recent reviews with PJ Harvey, as she is someone still producing magnificent music. Her tenth studio, album, I Inside the Old Year Dying, was released this year to enormous praise and love. A hypnotic and angry album with moments of beauty and tenderness, I think that some were shocked by a bit of a change of pace and lyrical agenda on Is This Desire? compared to 1995’s To Bring You My Love. Twenty-five years after its release, Is This Desire? sounds incredible and moving. It is one of my favourite PJ Harvey albums. In 2021, Beats Per Minute examined the new reissue of Is This Desire? and the Demos edition. I think that some critics didn’t appreciate the full depth and brilliance of PJ Harvey’s masterpiece. It is an album that warrants fresh ears and examination in 2023:

“In early 1997, Polly Jean Harvey was gearing up to record the songs that would form the follow-up to her 1995 LP To Bring You My Love. Within a few weeks, she had given up on them. “I wasn’t in the right place,” she later told Q Magazine. “It was a low time for me so I put the brake on. I said, ‘I don’t want to do these songs while I am like this.’ When I came back to the songs in 1998, they changed quite a lot. An important part of the creative process is knowing when it is the right time. The songs weren’t ready and nor was I.”

More than two decades on, the album that became Is This Desire? is the latest entry in Harvey’s 2020-21 reissues campaign, with an accompanying album of demos to boot. Out of a period of darkness came one of the key records of Harvey’s career, a beautiful, strange, queasy work of art. Where Dry and Rid of Me made virtue of Harvey’s brutal guitar playing and abrasive style, To Bring You My Love began to complement her punkish ferocity with slow-burning gothic blues and unsettling, atmospheric production. 

IN THIS PHOTO: PJ Harvey performing on stage at Lowlands, Biddinghuizen, Netherlands, on 28th August, 1998/PHOTO CREDIT: Niels Van Iperen/Getty Images

Is This Desire? takes it even further, replete with delicate production details, the songs rely as much on mood and texture (sometimes more so) than traditional structures. Of course the guitar is central, but so too are industrial drum machines, subtle electronics, mournful piano, and disquieting sub-bass. The effect is one to keep the listener off-balance; for every song of velvety, elegant beauty (“Catherine”) there’s another of claustrophobic desolation (“Joy”), and for an occasional verse/chorus jewel (“Angelene”) there’s an experimental mood piece (“My Beautiful Leah”). 

Yet somehow they all work together. I have always thought of Is This Desire? as a collection of short stories with different but interlinked characters – there’s Angelene, “prettiest mess you’ve ever seen”; Catherine de Barra, who leaves the narrator’s heart “stinking”; St. Catherine who “liked high places, high up on the hill… a place for making noises like whales”; the cloistered Joy, who at “30 years old, never danced a step”; the troubled and absent Leah, whose last words were “if I don’t find it this time, then I’m better off dead.”

Harvey told The Sunday Observer that she “wanted to write for [her]self, about [her]self. Like someone looking in on me.” Perhaps these characters, as much bearing the influences of the literature she was absorbing (including the stories of Flannery O’Connor), are stand-ins for her own state at the time, metaphorical other selves.

Harvey has always made plain that a lot of her work is fiction – no she didn’t drown her daughter, for instance – but part of the dark beauty of Is This Desire? is how personal it sounds. She later said: “The years between ’95 and ’97/’98 was probably the hardest time of my life. That album came out of that period, so it was a very difficult album to make, quite a painful album to make, and still not one I can listen to very easily at all.”

To add to its personal impression, it’s also filtered through the atmosphere of her home county of Dorset and its landscape and culture, from the photos displayed in the artwork to the folklore of St Catherine’s Chapel as explored in “The Wind”. Dorset looms large, or rather, looms low”.

In 2018, Annie Zaleski, writing for Stereogum, provided a fascinating take on Is This Desire? for its twentieth anniversary. Someone who clearly understands and connects with PJ Harvey’s music, it is interesting how it is perceived today (or 2018) compared to twenty/twenty-five years previous:

“Everything about Polly Jean Harvey was a revelation when she emerged in the early ’90s. Her first two albums with the trio PJ Harvey, 1992’s Dry and 1993’s Rid Of Me, were both as raw and tender as a newly scraped knee, all electric guitar fury and abrasive vocals. In 1995, Harvey stepped out on her own with the solo effort To Bring You My Love, an austere marvel steeped in blues and folk that smoldered and seethed as it reached the Top 40 on the US album charts and spawned a #2 modern rock hit, “Down By The Water.” This trilogy established Harvey as a formidable voice on both gender stereotypes and sexual expression, a powerhouse unafraid of aggressively confronting (and then upending) conventions.

As the decade progressed, this heightened profile came paired with increasingly loud stage-whispers that she had an eating disorder, along with lingering misconceptions about her mercurial moods. “I’m a mad bitch woman from hell. I can’t get enough sex or blood!” Harvey said, somewhat facetiously, when asked in a 1994 Q interview if she knew how the public considered her. She certainly wasn’t the only woman in the ’90s to be flattened into a caricature (just ask her Q interview mates, Tori Amos and Björk, who were also often side-eyed with unflattering assumptions) but in Harvey’s case, the pigeonholing felt particularly pernicious.

Perhaps because she didn’t shy away from anger or sexuality — and was a young woman expressing anger, at that — her persona was scrutinized more closely. “On the first couple of albums, I was finding a voice for the first time to say an awful lot of stuff that was stored up inside me,” Harvey told The Times in 1999. “I was very young and confused, so yes, those early albums are very angry. I was exploring that and finding a way to express it, and thought there is joy and a vibrant energy there, too. But you get categorized and it becomes rigid, and it doesn’t allow you space to develop and grow.”

Released on September 28, 1998, Is This Desire? didn’t quite reach the chart peaks of To Bring You My Love in most countries. However, commercial success was somewhat beside the point: The album obliterated expectations and found Harvey wresting control of her own narrative. Is This Desire? represents the culmination of her carving out time for self-care, emotional growth, and intense reflection — and channeling this into the lyrics. “I wanted to write for myself, about myself. Like someone looking in on me,” she explained to The Observer in 1999.

In some cases, this took the form of metaphorical concern. The lyrics of “The Wind,” a song inspired by the hillside St. Catherine’s Chapel in Harvey’s hometown of Dorset, England, envision the titular saint ensconced in the place of worship, where she “sits and moans.” However, the last verse features a child wishing Catherine could have a husband — and although the real saint was said to be devoted to Christianity rather than earthly desire, it’s a sweet, empathetic gesture underscoring that the melancholic woman isn’t alone.

But the title track — on which a man asks a woman, “Is this desire, enough, enough/ To lift us higher? To lift above?” — crystallizes the album’s central lines of questioning. Possessing desire is one thing, but what are the complications of expressing this desire? And is desire alone enough of a sustaining force — or can it also be a tool of destruction? These are thorny questions with no easy answers. “The Garden,” for example, envisions the tale of Adam and Eve unfolding between two men instead, but even a romantic encounter doesn’t change how lost the protagonist feels. In this case, having a taste of forbidden desire isn’t enough. Yet “The River” describes a relationship scorched by conflicting, greedy wants; it’s a case of too much desire having a negative effect.

Is This Desire? is particularly moving when it articulates how complicated desire affects women. The protagonist of “A Perfect Day Elise” witnesses the suicide of a beloved; “Catherine” is from the point of view of someone spurned by (and deeply jealous of) the titular character; “Joy” is consumed by “her own innocence” and feels so hopeless she’d rather go blind than remain in her current state.

It’s poignant (and pointed) that so many of the women on Is This Desire? have names: These aren’t abstract embodiments of femininity or womanhood, but relatable characters who are in various states of emotional disrepair, unmoored by forces beyond their control. Anyone listening to Is This Desire? could be a Joy or a Dawn or Elise; in fact, these named women feel like metaphorical selves representing Harvey’s own traumatic journeys. Accordingly, her vocal performances channel these different personas. “Catherine” has a regal, velvet-trimmed tone; “The Wind” alternates between conspiratorial whispers and a soaring falsetto; and the bruising “A Perfect Day Elise” contains notes of panic.

The period that produced Is This Desire? also gave Harvey valuable insights into her own psyche. As she told The Observer in 1999, hearing the playback of the song “My Beautiful Leah” — starring a sadness-wrecked woman who feels she’d be better off dead than remain alone — in particular, shook her. “I listened back to that song and I thought ‘No! This is enough! No more of this! I don’t want to be like this.’ Because it was all so black and white, and life just isn’t black and white. I knew I needed to get help. I wanted to get help.”

She went into therapy and, at some point, also moved into the basement flat of a house owned by her bandmate and collaborator John Parish, and video and art director Maria Mochnacz. The gesture represented more than just goodwill: “They basically saved me,” Harvey admitted to The Observer. “I needed to be rescued, and I was.” She recalled writing songs for Is This Desire? in this subterranean space, which was dark and cloistered, and focused on the demos her flatmates liked the most.

Unsurprisingly, Is This Desire? also sounds very different from Harvey’s prior work. Although there’s no shortage of abrasive moments (e.g., distorted vocals on “No Girl So Sweet”), Harvey de-emphasizes guitars in favor of stormy electronic programming with roiling rhythms and skeletal keyboards. Her collaborators aid and abet these gothic-dark soundscapes: The sparse “Angelene,” which boasts brooding piano and funereal organ, was arranged by long-time Nick Cave associate Mick Harvey. Marius de Vries, fresh off his work on U2’s Pop and the Romeo + Juliet movie score, also contributed additional programming, notably on the witchy shuffle “The Wind,” which boasts reedy percussion and haunted house-creepy electronic effects”.

I have one more feature to bring in before getting to a review. Is This Desire? features a range of characters. These intriguing personas almost allow Harvey this license to break free from constraints and any emotional barriers. That might suggest an album that is not personal. Quite the opposite! Udiscovermusic. wrote about Is This Desire? last year:

Reading between the lines

“I was doing a lot of emotional work [when she began studio sessions in 1997],” she shared on an interview disc that accompanied Desire. Her self-reflection reached the point where she had to abandon the sessions for a while: “I just wanted to stop, and start looking at my life as Polly, rather than my life as a songwriter.” By the time recording resumed in spring 1998, she’d devised a way to convey “life as Polly” without the danger of completely exposing herself.

Little of Is This Desire? is written in the first person; instead, Harvey used short stories by favorite authors for source material, finding characters and situations that mirrored her own. For instance, Joy Hopewell, the heroine of Flannery O’Connor’s Good Country People, was reimagined as the betrayed-by-her-man protagonist of the track “Joy,” and the lyric vibrates with anger: “Joy was her name, a life unwed/Thirty years old, never danced a step.” And God, is that mirrored by the music. Harvey’s bellowing anguish is matched in intensity by a bed of grinding electronic noise, while two tracks later on “No Girl So Sweet,” another wronged O’Connor character, from the story The Life You Save May Be Your Own, sets off a firestorm of guitar-synth distortion.

Adopting electronic soundscapes

Along with the shockingly bleak “My Beautiful Leah,” which melds electro-brutalism and emotional despair, these are the harshest examples of the electronic textures that define the LP as a whole. Harvey had opened herself to the possibilities offered by machine-made sounds after singing on the Tricky track “Broken Homes” (from the trip-hop pioneer’s 1998 album, Angels With Dirty Faces).

“Broken Homes” is pure, midnight-blue trip-hop, and a touch of that genre made its way onto Is This Desire?, most notably on the dreamy, Portishead-inspired “Electric Light.” Also dreamy in their own way are “The Wind” and “Catherine,” written as a pair to honor the martyred St. Catherine of Alexandria, the patron saint of unmarried women. A 14th century chapel in her name still stands on a hill in Dorset, near Harvey’s birthplace, and the whispering loneliness of “The Wind” precisely captures the chapel’s isolation, and the torment of Catherine’s thoughts as she awaits execution by the emperor Maxentius (“She dreamt of children’s voices/And torture on the wheel”). “Catherine,” meanwhile, is set to a percussive pulse that sounds like a languidly beating heart.

The two tracks are deeply shivery, but darkest of all is “My Beautiful Leah.” It’s so grim that when Harvey listened back to it she thought, “This is enough! No more of this! I don’t want to be like this. I knew I needed to get help,” she told The Guardian the following year.

A turning point

“Leah” proved a turning point. She began therapy while continuing to work on the record, and her growing understanding of herself crept onto Is This Desire?. She composed on a keyboard rather than her usual guitar, which affected her process: hunched over a small portable keyboard, she found herself writing “more thoughtfully.”

If her singing sounds different – purer, perhaps – it’s because, instead of making demos of every song at home, then re-recording the vocals in the studio, she transferred all the four-track demos onto a multi-track recorder and used the original vocals on the final versions. The demos for all 12 tracks have just been issued for the first time as a standalone LP, Is This Desire? – Demos.

Harvey has said she finds Desire both difficult to listen to and a source of great pride. Referring to its cast of identity-masking characters, she told the NME, “Whatever I’ve written all comes from inside me and my experience. Whether I write about that in another person’s name or my own, there’s a lot of me in there. Because I finally feel comfortable saying ‘I am Polly.’” More than 20 years later, it stands as the record that set Polly free from emotional bondage”.

I am going to end by starting midway through an incredible review from 2014. I think there was a lack of understanding from critics in 1998. Maybe feeling PJ Harvey had to sound a certain way or was being too over-emotional and weird. Rather than allow a female artist license to create what she wants, there was a sense that Harvey was unusual and angry. I would like to see some modern reviews reverse that assessment and actually shine a very positive light on Is This Desire?:

“The question mark at the end of the album’s title becomes more important with the next two songs, both of which deal with twisted desire. “My Beautiful Leah” is the song that apparently pushed PJ over the edge for a while, a tale of a woman engaged in the perpetual search to find either meaning in her life, someone authentic who genuinely needs her, or both. PJ plays the role of hapless male lover in search of Leah, a woman with “her lovely face twisted” who is likely suffering from a form of bipolar disorder. The narrator emphasizes her neediness (“She was always so needing”), indicating that Leah is a psychological black hole and that he is likely a co-dependent participant. Some people consider this drum-kit-and-dark-synth track the highlight of the album, and while I’m not sure about that, I think the sickness of the narrator is effectively portrayed. Even more disturbing to me is the album’s single, “A Perfect Day, Elise,” a song about an obsessive male who believes he owns Elise after one roll in the hay and kills her to prevent anyone else from ruining his perfect day. Part of me wishes that the swaying rock rhythm here had been used for a song about pure desire, but PJ’s choice does make the piece much more impactful.

The middle section of this album definitely qualifies as a heart of darkness, and the song “Catherine” deals with the ugliness of obsessive, unrequited desire. PJ identifies the object of desire as one Catherine De Barra, and I’ve read a few different theories of this person’s identity. The author of the book Disruptive Divas suggests that it might be one of two Catherines who lived the island of Barra in the lower Outer Hebrides, but even she concedes it’s a mystery. It’s not a bad theory, as the essence of Catherine is her unattainability, and the image of a distant island complements the image. The bass on this song has the feel of a feverish heart, the muffled soundtrack mirrors the inner dialogue, and PJ’s lyrics graphically depict the corroding bitterness that consumes the narrator:

Catherine De Barra, you’ve murdered my thinkin’

I gave you my heart, you left the thing stinkin’

I’d shake from your spell if it weren’t for my drinkin’

The wind bites more bitter with each light of mornin’

I envy the road, the ground you tread under

I envy the wind, your hair ridin’ over

I envy the pillow your head rests and slumbers

I envy to murderous, envy your lover

‘Til the light shines on me

I damn to hell, every second you breathe

The meaning of “Electric Light” is more obscure; it all depends on how you interpret the word “siren.” Is it the image of a beautiful woman surrounded by neon lights or is it the sound of the police siren responding to a reported rape? The first interpretation makes the narrator a lonely soul in a two-bit room in the heart of the city yearning for the woman’s image to come to life; the latter implies he’s a murderous rapist admiring his work. Either interpretation raises questions of the meaning and realization of desire: the kind that languishes in neglect and the kind that kills. The bass-dominated arrangement could support either—it’s an eerie, mysterious and very compelling piece.

Even more compelling is “The Garden,” a poem set over a slow funk beat enhanced by well-timed appearances of organ, piano and strings. The build in the arrangement is exceptional—the shift to single piano notes in the later verses introduces a sense of foreboding, and the long lyrical pause before the last recitation of “And there was trouble” turns the line into something close to hair-raising. The lyrics appear to describe two men meeting in the garden for a moment of man-to-man intimacy:

And he was walking in the garden

And he was walking in the night

And he was singing a sad love song

And he was praying for his life

And the stars came out around him

He was thinking of his sins

And he’s looking at his songbird

And he’s looking at his wings

There, inside the garden

Came another with his lips

Said, “Won’t you come and be my lover?

Let me give you a little kiss”

And he came, knelt down before him

And fell upon his knees

“I will give you gold and mountains

If you stay a while with me”

And there was trouble

Taking place

At this point, we’re not sure if the trouble is due to the illicit love, the strangeness felt by two newbies to the gay scene or what. In the last sequence, PJ throws a wrench into that interpretation:

They kissed and the sun rose

And he walked a little further

And he found he was alone

And the wind it gathered ’round him

Now we’re looking at the possibility that the man was meeting with his Jungian shadow, the part of the self that is repressed. What I realized that both interpretations could be simultaneously true, making this a marvelously constructed tale of repressed desire. When PJ is on her game, her lyrics are akin to the experience of walking past the mirrors of the fun house—there are multiple interpretations possible, depending on your perspective. People who detest ambiguity will feel uncomfortable with such a poet, but I find PJ’s work endlessly fascinating.

“Joy” combines more than a touch of Bjork with a Patti Smith vocal, a combination that is distinctly difficult to listen to. I think that’s the point: it’s hard for people to think about or even look at people with disabilities. PJ gives a credible performance in the role of a woman without hope or the ability to change her circumstances. Here she’s dealing with the impossibility of manifesting desire, the bitter truth of permanent virginity expressed in the phrase “Innocence so suffocating.” This terribly ugly (understandably ugly) song is followed by the melancholy beauty of “The River,” where PJ works with the imagery of baptism and the belief that one can “throw your pain in the river.” This is a fascinating song on many levels, for a superficial read could lead you to believe that PJ is talking about the empty promise of Christian baptism, but she could also be talking about Lethe, the river of forgetfulness and the virtue of a life with no regrets. The image of washing is repeated here, indicating that the true theme of the song is probably closer to the guilt some people feel about desire itself. Again, whatever your interpretation, “The River” is a beautiful song and PJ’s natural voice, with its tone of weariness and doubt, is perfect for it.

“No Girl So Sweet” is the doppelgänger of “The River,” using the same chord combination but shifting to heavy electronics. This is the one song on the album that turns me off, probably due to its intensely Christian imagery. The album ends with the title track, also steeped in biblical references. The question posed here is whether or not desire can be transcendent, a question to which I would naturally respond, “Fuck yes!” I will admit that it is a question that has been debated for centuries, with Gautama coming down on the side of extinguishing desire and Blake on the side of letting it rip (“sooner murder an infant in his cradle than nurse an unacted desire”). I’m on Blake’s side; PJ is able to hold both truths simultaneously, and that’s why she’s the poet and I’m the admirer.

It’s regrettably understandable that the male-dominated field of music criticism didn’t get this album. The criticism that the album is “too sad” is such an obtuse perspective that it takes my breath away, but I’ve learned to accept male obliviousness as a fact of life. This is not to imply that all men have their heads up their asses, but our societies have a long way to go before they reach the tipping point where women are understood and accepted for who they are”.

A top twenty album in the U.K., I know there will be a lot of new spotlight and praise for PJ Harevy’s incredible Is This Desire? It is an album I remember back in 1998. Maybe not as big a fan of hers then as I am now, in years since, I listen to this album and feel it is as revelatory and extraordinary as anything she has ever produced! An album impossible to truly understand after one listen, this superb work is one that will continue to reveal layers and wonders…

FOR many years to come.

FEATURE: The Iconic '90s: Spotlighting National Album Day 2023

FEATURE:

 

 

The Iconic '90s

 

Spotlighting National Album Day 2023

_________

AN exciting time of year…

 PHOTO CREDIT: cottonbro studio/Pexels

National Album Day takes place on 14th October. I guess, in line with a lot of nostalgia round the '90s and more of the decade’s sounds making their way into new music – either as samples or new artists inspired by that period. I think the past couple of years has been noted because of the rise of physical music sales. This is not people buying singles or E.P.s. Largely, these are music lovers getting albums – either on vinyl or C.D. It is great that we get to celebrate the album as a format. The 1990s is, arguably, the most diverse, important and greatest decade for music ever. Many might say the '70s and '80s are better. Those that say there were more revolutions and evolutions in the 1960s. It is a subjective measure, though there is truth in the fact the 1990s gave us some iconic, classic albums. National Album Day will celebrate this. I am going to get to a playlist where I have selected a track from each of the iconic '90s albums that are being re-issues as limited editions for 14th October. Here is some more news:

“National Album Day today announces the exclusive list of limited edition 90s albums that are being released for the annual event celebrating the art of the album on Saturday 14th October. The special titles will be available to purchase in retailers across the UK on NAD itself, and can also be pre-ordered from 9am on Wednesday 13th September.

Held on Saturday 14th October, National Album Day will celebrate the 90s and the milestone of 75 years of the album format. National Album Day is presented in association with official audio partner Bowers & Wilkins and official broadcast partner BBC Sounds. Last week, music icons Gabrielle, Declan McKenna, Tricky and Nuno Bettencourt were announced as this year’s NAD artist ambassadors.

One of the UK’s most successful and beloved artists, National Album Day ambassador Gabrielle has enjoyed a remarkable resurgence in recent years. To mark the start of her huge ‘30 Years of Dreaming’ headline tour, Gabrielle’s No.1 third solo album Rise is being reissued on vinyl. A huge commercial success, the album spent three weeks at No.1 on the UK Albums Chart and  achieved 4× Platinum status, with the iconic title track also topping the UK Singles Chart.

You've Come a Long Way, Baby proved to be Fatboy Slim’s global breakthrough album on its release in October 1998, peaking at No.1 on the UK Albums Chart and earning him a Brit Award. To mark its 25th anniversary, the album has been remastered at half speed in the best available audio quality possible for National Album Day.

It’s been 30 years since the release of blur’s second studio album Modern Life Is Rubbish, regarded as one of the defining releases of the era which saw the band continue to revolutionise the sound of English popular music. This National Album Day, fans can get their hands on a special limited edition of the record on 2LP transparent orange vinyl.

R.E.M.’s eighth studio album Automatic for the People received widespread critical acclaim upon release in 1992, when it reached No. 1 in the UK and went on to top the UK Albums Chart a further three times the following year. The record produced some of the band’s best-known songs including ‘Everybody Hurts,’ ‘Man on the Moon,’ and ‘Nightswimming’. A limited edition 180-gram yellow LP reissue of the album will be released exclusively on National Album Day.

Originally released in 1997, Time Out of Mind is hailed as one of Bob Dylan's best albums, going on to win three Grammy Awards, including Album of the Year in 1998. The record will be re-released on limited edition 2LP clear gold vinyl.

Garbage’s second studio album Version 2.0 was heralded as a bold progression from their self-titled debut album upon its release in 1998, and went on to sell over four million copies worldwide, matching the success of its predecessor. This 2LP Gatefold Vinyl comes as an exclusive for National Album Day, and is the first time the record has been pressed on transparent blue coloured vinyl.

Dannii Minogue’s hit third studio album Girl, which featured the UK Dance Chart topping singles ‘All I Wanna Do’, ‘Everything I Wanted’ and ‘Disremembrance’, has been remastered and reissued for National Album Day, and will be available on 2LP and as an expanded CD box set, featuring a wealth of exclusive material.

Pop group S Club are releasing a picture disc edition of their platinum selling debut album ‘S Club’ on vinyl for the very first time, featuring the smash hit singles ‘Bring It All Back’, ‘S Club Party’ & ‘Two In A Million / You’re My Number One’.

Dinosaur Jr. celebrate the 30th anniversary of the indie rock classic Where You Been with an exclusive limited edition reissue on double splatter vinyl. It received widespread critical acclaim on release and was the band’s first UK Top 10 album.

Grace is the only studio album by American singer-songwriter Jeff Buckley, originally released on August 23, 1994. Frequently cited by critics as one of the greatest albums of all time, it features Buckley’s definitive cover of Hallelujah. The album will be reissued on lilac wine coloured vinyl.

Legendary hip-hop group Wu-Tang Clan released their iconic debut album Enter the Wu-Tang (36 Chambers) on November 9, 1993. Its gritty, distinctive sound created a blueprint for hardcore hip-hop during the 1990s and is regarded as one of the greatest hip hop albums of all time. The record is being pressed on limited edition gold marbled vinyl for its 30th anniversary,

Full list of National Album Day titles below:

808 state - ex:el (2LP)

Ace Of Base - Happy Nation (Picture Disc Vinyl)

Babybird - Ugly Beautiful (2LP)

Belinda Carlisle - Live Your Life Be Free (Picture Disc Vinyl)

Blur - Modern Life Is Rubbish (2LP Transparent Orange Vinyl)

Bob Dylan - Time Out Of Mind (2LP Clear Gold Vinyl)

Catatonia - International Velvet (1LP Recycled Colour Vinyl)

Dannii - Girl (2XLP / 4CD Box Set)

Dinosaur Jr. - Where You Been (Limited Edition Double Splatter Vinyl)

Duster - Stratosphere (25th Anniversary Edition) (1LP Clear & Black Splatter Vinyl)

Eternal - Always and Forever (1LP Recycled Colour Vinyl)

Fatboy Slim - You've Come A Long Way Baby (2LP Half-Speed Remaster)

Gabrielle - Rise (1LP)

Garbage - Version 2.0 (2LP Blue Colour Vinyl)

Ginuwine - The Bachelor (2LP Red Vinyl)

Hole - Live Through This (1LP)

Idlewild - Captain (1LP Recycled Colour Vinyl)

James - Laid (2LP)

James - Gold Mother (2LP)

Jeff Buckley - Grace (1LP Lilac Wine Vinyl)

Leftfield - Leftism (2LP White & Black Marbled Vinyl)

Lighthouse Family - Ocean Drive

Marc Almond - Tenement Symphony (2LP / Deluxe 6CD/DVD)

Melanie C - Northern Star (1LP)

Nas - It Was Written (2LP Gold & Black Vinyl)

Neneh Cherry - Man (1LP)

Paul Weller - Wild Wood (1LP)

REM - Automatic For The People (1LP Yellow Vinyl)

Robert Miles - Dreamland (2LP)

S Club - S Club (1LP)

Shola Ama - Much Love (2LP Recycled Colour Vinyl)

Simply Red - Blue (1LP Blue Vinyl)

Siouxsie - The Rapture (2LP)

Songs: Ohia - Songs: Ohia (Colour Vinyl)

Songs: Ohia - Axxess & Ace (Colour Vinyl)

Stereophonics - Performance & Cocktails (1LP)

Stone Temple Pilots - Purple (1LP Recycled Colour Vinyl)

Stone Temple Pilots - Core (1LP Recycled Colour Vinyl)

Teenage Fanclub - Bandwagonesque (1LP Transparent Yellow Vinyl)

The Corrs - Forgiven, Not Forgotten (1LP Recycled Colour Vinyl)

The Cranberries - Everybody Else Is Doing It, So Why Can't We? (1LP)

Tricky - Maxinquaye (3LP, 1LP & 2CD) *Released Friday 13th October*

Various Artists - The Virgin Suicides (Music From The Motion Picture) (1LP Recycled Colour Vinyl)

Various Artists - HELP (12”)

Various/V4 Visions - V4 Visions: Of Love & Androids (2LP Clear Smoke Vinyl)

Wu-Tang Clan - Enter the Wu Tang (36 Chambers) (1LP Gold Marbled Vinyl)

Now in its sixth edition, National Album Day sees the music community come together each year to celebrate and promote the art of the album. This year’s 90s theme will look to shine a light on a profoundly rich decade for music and album making that skipped between Britpop, Dance and Hip Hop; gave us national treasures Take That and global phenomenon the Spice Girls; and saw diverse genres ranging from dance, house and techno to R&B, rap and reggae and to grunge and industrial rock, among many others, rise to reach their full cultural expression –  in the UK and globally.

National Album Day is again presented in association with official audio partner Bowers & Wilkins and official broadcast partner BBC Sounds, and will pay tribute to artists who tell their stories behind these significant and influential bodies of work. Artist ambassadors tied into the theme – both those that came to the fore during the 1990s and current new and emerging talent that are inspired by its music; specially reissued albums and new releases; and promotional events and other activities will be announced in due course alongside further updates.

Since its launch in 2018, NAD has been supported by a broad range of artist ambassadors, including Kylie Minogue, Joy Crookes, Sharleen Spiteri, Lewis Capaldi, Mark Ronson, La Roux, Elbow, Paloma Faith, Blossoms, Alice Cooper, Novelist, Tom Odell, Mahalia, Toyah Willcox and Jazzie B. Last year Franz Ferdinand, India Arkin, KSI, The Mysterines, Sam Ryder, and The Staves were the latest talents to add their voices as passionate advocates of the long player.

Typically benefitting from around a week-long build up, NAD has hosted a variety of activities such as listening events with album platforms including Classic Album Sundays, Pitchblack Playback, The Record Club, Tape Notes and Tim’s Listening Party; live performances; in-store artist appearances and record store promotions, street art murals; and album sleeve artwork exhibitions.

Renowned audio brand, Bowers & Wilkins, continues its support for National Album Day as official audio partner. Built on a passion for music, Bowers & Wilkins has been on an unrelenting pursuit of the highest quality listening experiences for music fans for over 60 years, always delivering sound that remains true to how the artist intended their album to be heard”.

I am grabbing from the official website. It is important to highlight the Ambassadors for this year’s National Album Day. We will all embrace and look forward to National Album Day. Having some high-profile and respected artists backing the day and showing their support means that the news and excellence of this yearly celebration spreads further and wider:

“National Album Day today announces music icons Gabrielle, Declan McKenna, Tricky and Nuno Bettencourt as this year’s artist ambassadors. National Album Day, held on Saturday 14th October, will celebrate the 90s this year and 75 years of the album format. National Album Day is presented in association with official audio partner Bowers & Wilkins and official broadcast partner BBC Sounds.

From the early 90s, Gabrielle has been one of the UK’s most successful and beloved artists. With two unforgettable #1 smashes (‘Dreams’ and ‘Rise’), a back catalogue full of Top 10 hits, two albums which reached 4 x Platinum status, two BRIT Awards, two MOBOs and an Ivor Novello, everything she touched seemed to turn to gold. Gabrielle has enjoyed a remarkable resurgence in recent years, one that proves that timeless, empowering songwriting and a distinctive voice that is the very definition of soul will never go out of fashion. This autumn will see Gabrielle embark upon the ‘30 Years of Dreaming’ headline tour which has been extended to a phenomenal 33 dates following overwhelming public demand.

Gabrielle says: “I am thrilled to be an ambassador for National Album Day. I released my album Rise in the 90s and it is the one I am most proud of. I’ve recently started collecting albums on vinyl myself and really enjoy that they encourage you to listen to a body of work in its entirety.”

 Known for being the lead guitarist in Boston rock band, Extreme, Nuno Bettencourt has been making his mark on the music industry since 1985. Extreme released six studio albums, including the acclaimed ‘Pornograffitti’ in 1990, which featured the global smash, ‘More Than Words’. In 1997 Nuno shared his debut solo album ‘Schizophonic’, the band’s most recent album ‘Six’ was released in June of this year. Alongside Extreme, he has also played for some of the  world’s biggest music stars, including Rihanna.

Nuno says: “I never wanted to put any music out for the sake of putting music out. When you listen to an Extreme album, you’re getting something that we’re really proud of. Albums are a labour of love. They are a snapshot of a time in the artist’s life. A story needing to be told. When I think of my favourite artists, I think of the records that I wore out. The experience of getting lost in the music and taking a journey with the band. I’m excited to be an Official Ambassador for National Album Day because that is what rock is about. The body of work. The connection with the listener. Experimenting and taking chances. Expressing yourself and connecting with the listener.  So put on your favourite record, or put on something new and take that journey with the artist. The way it was meant to be.”

After winning the Glastonbury Festival's Emerging Talent Competition in 2015, Declan McKenna has made an unforgettable impression on the music industry with his creatively ambitious songwriting. Following his debut single ‘Brazil’, Declan has released two albums, including the best seller ‘Zeros’. Since then, the singer-songwriter has been out on the road across the US touring, and is ready for a late summer return to the UK for Reading & Leeds Festival.

 Declan says: “Albums are still the best way for fans to connect with the true intention of art, and to enjoy and understand the vision of an artist. They create true artists and in turn create true fans. The 90s was a time of huge change in the world of music, the recording process was evolving to something closer to the accessibility that exists today, and so it has a legacy containing many records that are completely timeless, and many others that feel at the least somewhat stuck in their time, this is what happens when artists push things forward and why the 90s has so many niches that belong to it. It’s a beautifully varied era of music.”

Tricky is one of the most groundbreaking UK artists of all time. Relentlessly creative, his career

started as part of Massive Attack before going solo and releasing ‘Maxinquaye’ - a peerless album seen as one of the most important and revolutionary of the past 40 years. Tricky has recently revisited the record, completely reworking six tracks. ‘Maxinquaye (Reincarnated)’ which features a remastered version of the album as well unreleased remixes and of course the ‘reincarnated’ tracks. With a career now spanning over 30 years, his hunger for creativity has not waned and he continues to perform live all over the world.

Tricky says: “I’m very happy to be an ambassador for National Album Day as the album holds such an important place in an artist’s career. In today's world where so much is designed around short form or bite size content the album format is an important antidote. It provides the artist with the opportunity to work without compromise and create something truly enduring.

IN THIS PHOTO: Spice Girls circa 1996/PHOTO CREDIT: Universal Music Group

Now in its sixth edition, National Album Day sees the music community come together each year to celebrate and promote the art of the album. This year’s 90s theme will look to shine a light on a profoundly rich decade for music and album making that skipped between Britpop, Dance and Hip Hop; gave us national treasures Take That and global phenomenon the Spice Girls; and saw diverse genres ranging from dance, house and techno to R&B, rap and reggae and to grunge and industrial rock, among many others, rise to reach their full cultural expression –  in the UK and globally.

National Album Day is again presented in association with official audio partner Bowers & Wilkins and official broadcast partner BBC Sounds, and will pay tribute to artists who tell their stories behind these significant and influential bodies of work. Artist ambassadors tied into the theme – both those that came to the fore during the 1990s and current new and emerging talent that are inspired by its music; specially reissued albums and new releases; and promotional events and other activities will be announced in due course alongside further updates.

Since its launch in 2018, NAD has been supported by a broad range of artist ambassadors, including Kylie Minogue, Joy Crookes, Sharleen Spiteri, Lewis Capaldi, Mark Ronson, La Roux, Elbow, Paloma Faith, Blossoms, Alice Cooper, Novelist, Tom Odell, Mahalia, Toyah Willcox and Jazzie B. Last year Franz Ferdinand, India Arkin, KSI, The Mysterines, Sam Ryder, and The Staves were the latest talents to add their voices as passionate advocates of the long player.

IN THIS PHOTO: The Staves (Emily, Jessica (centre), and Camilla Staveley-Taylor)/PHOTO CREDIT: Sequoia Ziff

Typically benefitting from around a week-long build up, NAD has hosted a variety of activities such as listening events with album platforms including Classic Album Sundays, Pitchblack Playback, The Record Club, Tape Notes and Tim’s Listening Party; live performances; in-store artist appearances and record store promotions, street art murals; and album sleeve artwork exhibitions.

Renowned audio brand, Bowers & Wilkins, continues its support for National Album Day as official audio partner. Built on a passion for music, Bowers & Wilkins has been on an unrelenting pursuit of the highest quality listening experiences for music fans for over 60 years, always delivering sound that remains true to how the artist intended their album to be heard.

National Album Day will announce an extensive list of exclusive 90s albums on 13th September that are being released or reissued on vinyl and CD to coincide with this annual event celebrating the art of the album”.

 PHOTO CREDIT: Alax Matias/Pexels

I am going to wrap things up in a bit. I do like National Album Day. Like Record Store Day, it brings more people into record shops. Sales go up, and it means people get to discover new albums – either by new or older artists – and they make some unexpected finds. I think that the theme of the 1990s is a good one for this year. There have been other decades marked before. Women in music. Debut albums. Great and interesting themes with plenty of scope and depth. Many people might be fed up with the '90s being mentioned at the moment. One cannot deny that it is vital and hugely influential to new artists. There are some iconic albums from that wonderful decade that people around at the time will want; those who are younger will connect with a great album. I will wrap up with some further thoughts. Here is a bit more from National Album Day about them saluting the '90s:

“National Album Day returns on Saturday 14th October and this year will be themed around The 90s, following previous celebrations that included The 80s, Women in Music, and, just last year, Debut Albums. It will also help to honour 75 years of the album LP format.

Now in its sixth edition, National Album Day sees the music community come together each year to celebrate and promote the art of the album. This year’s 90s theme will look to shine a light on a profoundly rich decade for music and album making that skipped between Britpop, Trip Hop and Hip Hop; gave us national treasures Take That and global phenomenon the Spice Girls; and saw diverse genres ranging from dance, house and techno to R&B, rap and reggae and to grunge and industrial rock, among many others, rise to reach their full cultural expression –  in the UK and globally”.

The 1990s was a time where certain genres were born or evolved to new heights. Not dated or selective, there is still a tonne of love for so much music of that time. Some of the truly great albums from the 1990s are inspiring artists today. It is important to recognise that time. Sophie Jones, BPI Chief Strategy Officer & Interim CEO talks about the art of the album and the pleasure of listening to that selection of songs as a single experience. Kim Bayley, Chief Executive ERA points out, as the album is seventy-five this year, it is a great celebration of classic albums from the 1990s, in addition to some lesser-heard gems. You can follow National Album Day and keep abreast of news via their Twitter, Instagram, and Facebook. With national and international politics weighing on our minds and creating a stress and sense of depression, music is a real outlet and source of comfort. Any celebration of music and albums is much needed. The brilliant National Album Day, taking place on 14th October, is…

SOMETHING to look forward to.

FEATURE: The Rise and Rise of Taylor Swift: Is She the Most Important and Influential Artist of Her Generation?

FEATURE:

 

 

The Rise and Rise of Taylor Swift

IN THIS PHOTO: Taylor Swift in a promotional photo for 2020’s evermore/PHOTO CREDIT: Beth Garrabrant

 

Is She the Most Important and Influential Artist of Her Generation?

_________

WHEN a young artist called Taylor Swift …

PHOTO CREDIT: Beth Garrabrant

released her debut single, Tim McGraw, in 2006, who thought that she would be this megastar and hugely popular artist seventeen years later?! From modest (but impressive) beginnings, Swift has grown into be this colossus! I think that she is the modern-day equivalent of Madonna. In the sense she is on a par now with the Madonna was in the 1980s. Her current Eras Tour has broken records. There is going to be a film of the tour that will hit the big screen soon. I know I have written about Taylor Swift a fair bit lately. One reason is that it is amazing to see this incredible young artist succeeding and doing so much good. You never begrudge any of her wealth and success, as she is such a philanthropic person. I am thinking about Madonna too, as she starts her Celebration Tour next month. One of the most important artists in history, I think Taylor Swift will go down in history in the same way. At a time when so much sexism and imbalance reigns through music, Taylor Swift is empowering so many women in the industry. Whether you like her music or not, one cannot deny how amazing she is! Someone who loves her fans and has this very caring and considerate heart. I am back at her feet once more as some news and stories have broken recently. I am going to end with thoughts about Taylor Swift and her place in history. A mix of celebration and caution.

There are a few features that I want to bring in. Her work ethic and the sheer love and energy she puts into every show of the long-running Eras Tour is to be applauded. Some might not like her dating choices or some things she says. Nobody can refute the fact she is one of the hardest working artists in history. Even if she is gaining considerable wealth from it, this is not an artist who is driven by money and fame. Wanting to connect with her fans and give them an unforgettable live experience, you can see Taylor Swift using her income to change so many people’s lives. Maybe, as a director, she will finance incredible films and help affect changes. We are definitely seeing a modern-day icon make her way to immortality. There are few artists that come along that are cemented into the history books so emphatically – Madonna, David Bowie, Prince, The Beatles are rarefied and eternally influential. I want to bring in a few features from The Guardian relating to Taylor Swift. Earlier this month, they explored how she is the world’s biggest Pop artist:

“Eras has generated an estimated $5bn boost to consumer spending in the US, forcing cities to ramp up underprepared public transport systems and world leaders to turn into reply guys: Justin Trudeau pleaded with her on Twitter to come to Canada. And fair enough: I saw the final US Eras show in August and found it to be one of the most euphoric concerts I’ve ever seen, a reminder of Swift’s singular generational talent.

When Eras concludes in November 2024 it is likely to be the highest-grossing tour of all time with an estimated $1.4bn in revenue – half a billion more than Elton John’s farewell tour, the current record holder. Even a filmed version of Eras being released in US cinemas in October brought in $37m the day that tickets went on sale. All told, the tour has re-established Swift as the most successful pop star in the world, after a few years in which a resurgence seemed far from likely.

IN THIS PHOTO: Taylor Swift performs onstage during Taylor Swift | The Eras Tour at the SoFi Stadium on 3rd August, 2023 in Inglewood, California/PHOTO CREDIT: Emma McIntyre/TAS23/Getty Images

By the time the South American leg commences in November, Swift will have released her third album in 12 months, the re-recorded version of 1989. It’s the album that, on its original release in 2014, made her as omnipresent as Michael Jackson and Madonna had been in the 80s. Newspapers and blogs obsessed about “the squad” – the revolving clique of models, actors and musicians that surrounded her. But by the end of the attendant world tour she was being accused of self-serving and superficial “girl boss” feminism and there were public squabbles with Kim Kardashian, Kanye West, Katy Perry, Nicki Minaj and Calvin Harris. A fierce backlash was soon under way.

But next month, when Swift releases 1989 (Taylor’s Version), it’s possible that it may debut with higher first-week sales than the album it’s recreating; her current cultural dominance makes the original 1989 era look small scale. How has Swift managed to restore her stature without succumbing to the pitfalls that felled her last time?

In the immediate aftermath of the 1989 fallout, Swift broke her pattern of releasing a new album every two years, instead waiting three to return in 2017 with Reputation, billed as her retort to the haters. Louis Mandelbaum, host of the pop music podcast Pop Pantheon, says that Reputation is “actually more interesting than that: it’s really about her finding refuge in a new relationship in the face of [being] ostracised”, but its presentation – she wiped her once effusive social media accounts and adopted gothic imagery – allowed Swift to play with her newly tarnished image. “She attempted to parlay the negative press about her into the narrative of the record; like, ‘I’m taking ownership over how you view me,’” he says.

Crisis publicist Lauren Beeching says that beyond the musical talent it’s Swift’s ability to recast her image that’s given her such longevity. “She is a snake in the most positive way,” she says, referring to an insult hurled at and then reclaimed by Swift during the Reputation era. “She sheds her skin and becomes a new version of herself to fit in with today’s culture. You never know what will come next, which is what keeps her fans so engaged.”

Now Swift is more famous than ever, fans and critics are wondering if another backlash is brewing. The Eras tour has become a huge story, not just for Swift’s performance but for its unprecedented cultural and political impact – Ticketmaster’s mishandling of the Eras tour rollout, criticised by Swift, has led to an antitrust investigation – while moments from the show constantly go viral online”.

Taylor Swift’s fandom is gigantic! There is so much devotion to her from fans around the world. It is hard to gauge the legacy of a modern artist. How they are impacting the world and whether they are going to endure for years to come. You know, with Taylor Swift, she will continue to make phenomenal music for decades more. Able to inspire such love and commitment from her fans, it is intriguing seeing some of the projects and events in her honour. A new Taylor Swift club night is sweeping the U.K. It is this safe space where people feel secure and with their tribe:

“It is barely 10pm in Limehouse, east London, when the first pyro goes off and a crowd of sequined, red-lipped Taylor Swift fans lose their minds: “I did something bad,” Swift is singing, “So why’s it feel so good?”

A man has ripped off his top, and is whirling it around his head. Every foot stomp, every ad lib is perfectly replicated by a sea of dancing fans and you can almost taste the euphoria in your warm can of White Claw. But Swift is thousands of miles away on tour in the US: this is Swiftogeddon, a club night dedicated to the singer’s music that started as a novelty one-off event and has snowballed into a UK-wide phenomenon.

The brainchild of Dave Fawbert, a DJ and former journalist who has been an unlikely fan of Swift since her 2010 album Speak Now, Swiftogeddon began in London in August 2019, weathered the pandemic and now takes place across the UK every weekend (it almost always sells out).

Fawbert is not the person you might picture as the mastermind behind a Swift club night. He gives off strong dad energy in his uniform of long baggy shorts and T-shirt, and often runs out from behind the decks to air drum and dance. He takes his job as master of vibes very seriously: “If you get out the front, sing along and make yourself look a bit of an idiot, then people feel free to do the same,” he says with a grin when we meet up before the event. He may have been the first to spot the potential in an all-Swift club night (there is now an unaffiliated night that tours the US), but even he had no idea how big it would become. “I thought, it’ll fizzle out at some point; it’s not a real job,” he says. “But it just keeps getting bigger and bigger and bigger.”

PHOTO CREDIT: David Jeffery-Hughes

Now, Swiftogeddon is a real job. Fawbert won’t be drawn on specifics, but he makes enough money running the night to support his young family without needing what he calls “sensible” work. He still DJs the London dates and has recruited and pays Swifties from around the UK to DJ elsewhere, in some cases training them up from scratch.

In the pub, I meet Hannah and Caitlin, two 19-year-old Swift fans having pre-drinks after travelling for more than an hour to get to Limehouse. They are sporting matching pink cowboy hats and have choreography planned for I’m Only Me When I’m With You. “It’s the nicest club night I’ve ever been to,” says Hannah. “Everyone’s just like, ‘I love your outfit!’ and taking pictures with each other.” Her only complaint is that the queues for the ladies are too long.

Swiftogeddon is a very feminine space. Most of those in the crowd are women or gay men, with the odd hetero boyfriend gamely trying to sing along. Everyone I speak to stresses how safe it feels, with no fear of judgment or harassment. “I feel like a lot of her music really captures the collective female experience,” Fran, an older Swiftie, tells me. “That’s what I love to be part of – singing those songs with a room full of people who feel the same”.

Taylor Swift’s stock and name is so high now, that there is a bespoke Taylor Swift role! Undoubtably seen not just as an artist, but this cultural and historic figure who is changing thew landscape and will go down as one of the most influential artists ever, there is this new and rare opportunity for a fan of Taylor Swift to have their dreams come true:

“While no journalism job is perfect, a new role posted by Gannett, the US media company, may just be a Taylor Swift fan’s wildest dream.

On Tuesday, a job simply titled “Taylor Swift reporter” appeared on the Gannett Careers’ Dayforce site. The desired reporter, who is being sought by both USA Today and the Tennessean, is to be “experienced, video-forward” and adept at capturing “the music and cultural impact of Taylor Swift”.

“Swift’s fanbase has grown to unprecedented heights, and so has the significance of her music and growing legacy,” the posting reads. “We are looking for an energetic writer, photographer and social media pro who can quench an undeniable thirst for all things Taylor Swift with a steady stream of content across multiple platforms.”

It added: “Seeing both the facts and the fury, the Taylor Swift reporter will identify why the pop star’s influence only expands, what her fanbase stands for in pop culture, and the effect she has across the music and business worlds.”

The role also requires the reporter to “chronicle the biggest moments on the next portions of Taylor Swift’s tour” and travel internationally.

Experienced journalists who have yet to see the Eras tour, perhaps this is your biggest break yet.

In a statement to the Guardian, a spokesperson for Gannett confirmed that the role was real, full-time and with benefits.

“Are you ready for it? Being essential to our readers means providing the content they crave and we have a blank space with Taylor’s name,” said Kristin Roberts, Gannett media chief content officer.

As most Swift-centric things tend to do, the role made the rounds on the website X, formerly known as Twitter, on Tuesday afternoon. One person simply called the role “incredible”, while another quipped: “heaven help whoever has to review applications for that Taylor swift reporter job”.

Music critic Carl Wilson noted the unusual nature of the job and posed the question: “Has anyone ever heard of a single-artist reporter job before?”.

There are a couple of features I want to get to before rounding off. Together with the success of her Eras Tour, Taylor Swift recently swept the VMAs. It is hard to think of an artist ever who has had the same amount of success as her at such a young age. One can think of Madonna or Michael Jackson. Swift is thirty-three. There is something scary and sensational happening. Such an inspiring woman who is establishing herself as one of the most successful artists ever, I wonder how things are for Swift behind closed doors. Can she get downtimes and privacy? Her recent VMS success adds another golden layer to the huge monument that is her wonderful career:

“Taylor Swift once again dominated the MTV Video Music Awards (VMAs), winning for every televised category in which she was nominated, in a night that otherwise celebrated Latin music, including the pre-eminence of Shakira, as well as 50 years of hip-hop.

Swift, currently in the middle of the first billion-dollar stadium tour in history, took home the night’s top prize, video of the year, for her Midnights track Anti-Hero, as well as best direction, best pop video and song of the year.

The 33-year-old singer dedicated her wins to the art of songwriting as well as to presenters ‘NSync, who reunited for the first time in over a decade to give her one award, and her video editor Chancler Hanes and cinematographer Rina Yang, who spoke on Swift’s behalf for her video of the year win.

After splitting emcee duties with LL Cool J and Jack Harlow last year, Nicki Minaj took over as the sole host of the 40th annual VMAs at the Prudential Center in New Jersey, and won an award, best hip-hop, for her track Super Freaky Girl. “So often I joke around and play around and stuff, but tonight, I don’t know why, this morning I just woke up and I had this really strong sense of gratitude,” she said.

The performance-heavy, relatively chaos-free VMAs devoted a significant portion of its nearly four-hour ceremony to celebrating 50 years of hip-hop, from a night-opening performance by Lil Wayne to the VMA debut of Metro Boomin to a finale medley featuring Doug E Fresh, Grandmaster Flash and the Furious Five, LL Cool J, Darryl McDaniels of Run DMC, Lil Wayne and Minaj herself”.

There will be books written about it – other than the ones that have already come out – and documentaries made. There is no doubt that we are seeing a music icon straddling the planet. This recent article talks about the legacy of Taylor Swift. What she means to the world. How she is this artist who looks out for other people and uses her fortune to support charities:

“Taylor Alison Swift, the singer-songwriter with multiple Grammy awards to her name, has left an indelible mark on the music industry. Her journey began with a collaboration with songwriter Liz Rose during two-hour writing sessions every Tuesday afternoon after school. She later became the youngest artist signed by the Sony/ATV publishing house. From there, she evolved into a 12-time Grammy award-winning music artist,  embodying the essence of inspiration.

A Symbol of Empowerment & Inspiration

Swift has become an iconic symbol of empowerment for many young women from her generation and those that followed. She dominated the charts with a series of hit albums and challenged gender stereotypes. At times, she has faced criticism and backlash for crafting songs that delve into her past relationships and romantic experiences, raising valid questions about the double standards faced by male artists like Bruno Mars and Ed Sheeran, who don't receive the same level of scrutiny for singing about their exes.

Swift's philanthropic efforts include supporting organizations that aid sexual assault victims, a cause she personally identifies with. She has vocally addressed unfair blame and responsibility placed on her for events in others' lives that result from their own choices. Her lyrics and activism have provided visibility and support to countless individuals.

Beyond her musical accomplishments, Taylor Swift, named Billboard's Woman of the Decade, should be recognized for her numerous charitable contributions.

This remarkable 33-year-old woman has changed the lives of many by donating to over 33 different charities. She even stepped up to help a 19-year-old fan whose mother was in a coma by contributing $15,500 towards her medical expenses. So, Taylor Swift is not just an artist favored by young girls; she has inspired millions of people and made a substantial positive impact on the world”.

In addition to her tour, Swift is releasing albums still. In terms of her forthcoming album, 1989 (Taylor's Version), that arrives on 27th October. There was a rumour that her ex, the odious Matty Healy, will feature on the album. Maybe one of the only black marks against Taylor Swift’s name is her association with The 1975’s lead. In any case, he will not appear on the album. We are seeing this artist go from strength to strength. Not someone drive by ego or this idea of their success and role in the world being manifested and always meant for glory, there is still an honesty, earnestness and modesty to Taylor Swift – as much as you can be with her fanbase and fame! Whilst she may not current hold the record, I think Swift will soon become the most successful female artist of all time. I do worry about the pressure and expectation. Reaching the stage she has, there is going to be increased expectation for her to tour longer and harder. She will want to record a new album soon enough. As the press takes an interest in her personal life, that is going to add yet another strain. Taylor Swift has her head firmly screwed on. She has a great team looking after her. Regardless of your relationship with Swift’s music or opinions of her, we are seeing this phenomenal artist achieve so much and make such an impact. When the Eras Tour concludes next year, there will be a necessity for Swift to take her foot off the gas for a little bit. Decompress and take some time out to live as normally and quietly as possible. When that time comes and she has had that time to reflect and breathe, it will be fascinating watching…

HER next steps.

FEATURE: The Digital Mixtape: Thom Yorke at Fifty-Five: A Selection of the Master’s Finest Work

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Alex Lake

 

Thom Yorke at Fifty-Five: A Selection of the Master’s Finest Work

_________

AS the superb and supreme…

 IN THIS PHOTO: Radiohead in 1997 (Thom Yorke pictured front)/PHOTO CREDIT: Danny Clinch

Thom Yorke turns fifty-five on 7th October, it allows me a perfect opportunity to do something I love doing: listening to the music of this remarkable human. From his established and iconic work with Radiohead, through to his solo work and other band material – Atoms for Peace, The Smile -, there is no rest for this legend! Not only is Yorke a brilliant songwriter and singer. He is also an amazing composer – as his work on the 2018 Suspiria soundtrack proved. I am going to end this feature with a playlist that combines all of his incredible work. From the debut album with Radiohead in 1993 to the present day, there is so much gold to be found. I will throw in some deeper cuts too. Before we get there, and as I rely on them when it comes to this sort of feature – specially to flesh out the word count! – is AllMusic. They provide a detailed biography of the Northamptonshire-born genius:

“As the frontman for Radiohead, Thom Yorke provides the band with a humanistic focus: his keening, emphatic vocals balance even the group's chilliest moments. However, other than duets with similarly inclined artists (PJ Harvey, Björk), Yorke resisted venturing into solo recordings until 2006's The Eraser, which further plumbed the depths of Radiohead's most experimental electronic efforts. He has continued to maintain that focus in his work outside the band, whether it's through subsequent solo albums, soundtrack contributions, original scores such as 2018's Suspiria, or his Atoms for Peace project co-starring Flea and Nigel Godrich.

Yorke was born on October 7, 1968, in Wellingborough, England. His left eye was paralyzed from birth and remained shut until the age of six. He underwent a total of five operations; the last operation was botched and he almost lost all sight in that eye. Only after wearing an eye patch for a year was he able to see, albeit slightly. His family moved often since his father worked as a chemical-engineering instruments salesman, and by his teens, he had turned to music as an inspiration, namely Elvis Costello, Queen, and the Beatles. After his family finally settled down in Oxford, Yorke was sent to an all-boys school, where he met future Radiohead guitarist Ed O'Brien and bassist Colin Greenwood, soon after discovering such '80s alternative bands as the Smiths, R.E.M., and the Cure. The seeds of what became Radiohead were planted at this point, as the trio jammed with a drum machine before replacing it with another friend, drummer Phil Selway, and inviting Greenwood's younger multi-instrument-playing brother Jonny to join up, too.

The group's original name was On a Friday before being changed to Radiohead, which they'd swiped from the title of a song on Talking Heads' True Stories. By late 1991, the band was signed to Parlophone in the U.K. and Capitol in the U.S., as an EP, Drill, came and went without much fanfare. Released in 1993, the group's full-length debut, Pablo Honey, appeared to be suffering the same fate until American radio/MTV made a surprise hit out of the Nirvana-esque alternative anthem "Creep." Radiohead's fan base grew considerably over the course of their next two releases, 1995's The Bends and 1997's OK Computer, the latter being voted Greatest Album of All Time in the British magazine Q shortly after its release. One of the world's top rock bands by this time, Radiohead attempted to alienate their newly found Top 40 audience with their next release, 2000's abstract Kid A, but instead found it debuting at the top of the U.S. charts (despite the absence of a video or single being released from the album).

While Radiohead remained his top priority during the '90s, Yorke also found the time to guest on other bands' recordings. Some of these cameo appearances included the songs "El President" by Drugstore (off the album White Magic for Lovers), a cover of Pink Floyd's "Wish You Were Here" with Sparklehorse, "Rabbit in Your Headlights" by UNKLE (Psyence Fiction), Björk's "I've Seen It All" (Selmasongs), and PJ Harvey's "This Mess We're In" (Stories from the Cities). Yorke also appeared as part of the ad hoc alternative supergroup Venus in Furs for the soundtrack to the 1998 glam rock film Velvet Goldmine, lending his vocals to the tracks "2HB," "Ladytron," and "Bitter-Sweet."

In May 2006, Yorke announced an imminent solo album on Radiohead's blog. The Eraser, made with extensive assistance from Radiohead producer Nigel Godrich, was released on XL in July. It debuted inside the Top Ten in the U.K. and U.S. and was also nominated for Britain's Mercury Prize and a Grammy Award in the category of Best Alternative Music Album. Radiohead also surprised fans with a new album when they announced the making of In Rainbows roughly a week before it was released in 2007.

A few years later, Yorke formed the band Atoms for Peace, recruiting Godrich on keyboards and production, Flea of Red Hot Chili Peppers on bass, Joey Waronker on drums, and Mauro Refosco on percussion. The group played several live dates around the U.S. during 2009 and 2010, and began recording for an album, Amok, that eventually appeared in 2013 (but not before another surprise Radiohead album, 2011's King of Limbs). Upon release, Amok performed well on charts across the world, although the members' more pressing commitments meant that a successor was not immediately forthcoming. Yorke also provided vocals for tracks by Flying Lotus and Modeselektor, and collaborated on recordings with Burial, Four Tet, and SBTRKT.

Yorke's second solo album arrived as a surprise, much like the first. Following a series of cryptic clues dispersed through social media, Yorke released Tomorrow's Modern Boxes in September 2014. Initially, it was distributed through the torrent service BitTorrent, and then it was made available on vinyl. The eight-song set was another concise, subdued, yet tense set from the Radiohead frontman. In 2015, Yorke performed with audiovisual artist Tarik Barri and Godrich at the Summer Sonic Festival in Japan and the Latitude Festival in the U.K.

2016 saw Yorke and Radiohead surprise fans with their ninth LP, A Moon Shaped Pool, after dropping cryptic hints across social media tied into elements featured in lead singles "Burn the Witch" and "Daydreaming." The band promoted the record with an international tour throughout 2016 and 2017. During the latter year, it was announced that the songwriter would be composing his first film score for Luca Guadagnino's remake of Dario Argento's 1977 horror classic Suspiria. Yorke revealed that during the writing process he had been inspired by various aspects of Krautrock as well as Vangelis' score for Blade Runner. The movie and its soundtrack arrived in late 2018, with the Suspiria album led by the track "Suspirium."

Yorke returned with ANIMA, his third solo album, in June 2019. Produced by Godrich, ANIMA was also accompanied by a short film directed by Paul Thomas Anderson”.

To honour the great Thom Yorke ahead of his fifty-fifth birthday on 7th October, it is only fair to present a career-spanning playlist to show just what a consistently brilliant songwriter he is. Whilst there are no immediate plans of a new Radiohead album, I am sure that we will hear more solo and The Smile albums in the next year or two. It is always a treat receiving music from Thom Yorke, as there is nobody in the music world…

QUITE like him.

FEATURE: In Search of the Kangchenjunga Demon: Kate Bush’s Wild Man at Twelve

FEATURE:

 

 

In Search of the Kangchenjunga Demon

IN THIS PHOTO: Kate Bush in 2011

 

Kate Bush’s Wild Man at Twelve

_________

ON 21st November, 2011 …

Kate Bush released her tenth (and most current) studio album, 50 Words for Snow. Instantly ranking alongside her very best stuff, the one and only single officially released from the album came out on 11th October, 2011. At 7:16, Wild Man is one of the shortest track on the album. At over sixty-five minutes across eight tracks, 50 Words for Snow is an epic album where you get these suites and huge pieces, as opposed to traditional songs. Wild Man premiered on BBC Radio 2 on Monday, 10th October, 2011. The 7:16-minute version was played on The Ken Bruce Show. A 4:16-minute ‘radio edit’ was made available for streaming on Kate Bush's official YouTube channel after the radio premiere. One of the standout songs from 50 Words for Snow, it was a perfect choice of single! Perhaps Bush would have favoured the closing track, Among Angels, but that song is the only one that has nothing to do with snow – it is the shortest song too, so choosing Wild Man seemed like a good alternative. There is a 2-minute-33-second animated segment for Wild Man that was posted on the Kate Bush official site and on YouTube. It was created by Finn and Patrick at Brandt Animation. I will get to some reviews of Wild Man soon enough. I will finish with a section from a particular interesting interview from 2011. Let’s actually start out with Billboard’s assessment on the beautiful and mysterious Wild Man:

“The weird and whimsical “Wild Man” serves as the first new single from British art-rock craftswoman Kate Bush in a whopping six years (not including the re-tooled tracks from this year’s “Director’s Cut”). A word of advice to first-time listeners: be sure to have an atlas and thesaurus handy. “From the Sherpas of Annapurna to the Rinpoche of Qinghai / Shepherds from Mount Kailash to Himachal Pradesh,” sings Bush in her breathy lisp, somehow sounding erotic while randomly referencing Indian provinces and Buddhist principles. For all of its impenetrable wordplay,”Wild Man” makes for a wicked headphone atmosphere, with Dan McIntosh’s expressionistic digital guitar curlicues wandering around a crisp Steve Gadd kit and John Giblin bass. As an announcement of Bush’s return, “Wild Man” is a tad off-kilter. But then again, when has the ever-singular Bush been anything but?”.

Of course, there is something special about Wild Man. Bush released Aerial’s King of the Mountain in 2005. After that, she released the track, Lyra, in 2007. That was for the film, The Golden Compass. Earlier in 2011, to promote Director’s Cut – where Bush re-recorded songs from The Sensual World (1989) and The Red Shoes (1993) -, she released a new version of Deeper Understanding (from The Sensual World). I think of Wild Man as her first original single since King of the Mountain. The two songs share similarities. King of the Mountain paints pictures of wild weather and mountaintop hideaway (“The wind is whistling/The wind is whistling/Through the house/Elvis, are you out there somewhere/Looking like a happy man?/In the snow with Rosebud/And king of the mountain/The wind, it blows/The wind, it blows the door closed”). The lyrics are a bit different on Wild Man. A more precise geographical examination of the surroundings and this fabled creature. This ‘wild man’ that may be a Yeti. Maybe not. Like King of the Mountain, you are transported somewhere more isolated and windswept (“They call you an animal, the Kangchenjunga Demon, Wild Man, Metoh-Kangmi/Lying in my tent, I can hear your cry echoing round the mountainside/You sound lonely/While crossing the Lhakpa-La something jumped down from the rocks/In the remote Garo Hills by Dipu Marak we found footprints in the snow/The schoolmaster of Darjeeling said he saw you by the Tengboche Monastery”). I want to bring in what Digital Spy had to say about the beguiling and beautiful Wild Man:

“They're like buses, Kate Bush albums. You wait years and years, and then, er, an old one with a flashy paint job comes along, quickly followed by a brand-spanking new one moments later! Hot on the heels of reworks project Director's Cut, Bush has driven up with 50 Words for Snow. 'Wild Man' trails the first proper new album in six years from one of England's most cherished songwriters, and in an internet age where 12 months out of the spotlight has people casually flinging around words like "comeback", Bush doesn't do herself any favours when it comes to damping down expectations. The truth is though, she doesn't really need to.

'Wild Man' starts with an insistent riff, simple-as-can-be click-drums, and Bush's understated, breathy, half-spoken vocals before her words twist and turn into a double-tracked self-harmony and off-the-rails chorus. The vivid lyrics are denser than most English A-Level texts ("The schoolmaster of Darjeeling said/ We saw you by the Tengboche monastery/ You were playing in the snow/ You were banging on the doors") and demand closer attention. It's nothing groundbreaking or world-changing, but the four-minute odd radio edit is a lush slice of beauty that the charts have been gagging for. The full seven minutes add a bit more atmosphere and, on this showing, 50 Words of Snow is threatening an avalanche of long-overdue loveliness”.

Even though Wild Man only got to number seventy-three in the U.K., it is by no means a disappointment. 50 Words for Snow reached five in the U.K. album chart. All of Bush’s studio albums have made the top ten here. Bush won an award for the album too.  It is testament to her enduring relevance and brilliance. It is the players in the mix that help bring those remarkable and strange lyrics to life. Andy Fairweather Low provides vocal support. Dan McIntosh’s guitar and John Giblin’s bass beautiful work with Steve Gadd’s legendary drumming. Together, they produce this wonderfully exotic and almost mythical sound! Something that lures you in and puts you in a trance. To promote 50 Words for Snow, Kate Bush gave quite a few interviews. Generous with her time, I do like to read and hear what she said. Chatting with John Doran for The Quietus, the subject of (and subjects around) Wild Man came up:

“So obviously looking at the artwork, the track listing, the title, and the lead single ‘Wild Man’ from your new album 50 Words For Snow, it's pretty clear what the theme is. Now culturally snow is really interesting stuff. It can symbolise birth, purity, old age, death, sterility… I was wondering what it means to you.

KB: [laughs derisively] Well, I’ve never heard of it in terms of old age or death… [laughs] That’s quite an opening line. Well, I think it’s really magical stuff. It’s a very unusual, evocative substance and I had really great fun making this record because I love snow.

What are your memories of snow like from childhood? Was playing in the snow something you really looked forward to?

KB: Well… yeah. Do you know any children who don’t look forward to playing in the snow?

I know what you’re saying but there are some who like it more than others…

KB: …

Er…

KB: … Are you knackered?

Yeah.

KB: Have you been up all night?

Yeah, I have.

KB: [laughs uproariously and good naturedly] Well John do you like snow? Don’t you think snow is a thing of wonder and beauty?

I think that if I lived outside of London, maybe in the countryside where it doesn’t turn to a mixture of slush and hazardous black ice, I might like it more. Also, I’m very tall and for whatever reason I just fall over when it’s icy, I always have done. It’s very dangerous I think.

KB: [laughs] Are you a kind of glass half empty kind of guy?

My glass used to be completely dry. Now it’s half empty but I’m working on making it half full… No, I’m joking, of course I like snow, it’s simply marvelous stuff. But obviously there’s been a great thematic shift between Aerial and this album.

KB: Yeah.

So Aerial is full of images of clear skies, still water, warm days and it’s full of the bustle of family life and an easy domesticity. 50 Words For Snow is a similarly beautiful album but there is a chill to it - it lacks the warmth of its predecessor. I wondered if it represented another switch from an autobiographical to a narrative song writing approach?

KB: Yeah, I think it’s much more a kind of narrative story-telling piece. I think one of the things I was playing with on the first three tracks was trying to allow the song structure to evolve the story telling process itself; so that it’s not just squashed into three or four minutes, so I could just let the story unfold.

I’ve only heard the album today so I can’t say I’m completely aware of every nuance but I have picked out a few narrative strands. Would it be fair enough to say that it starts with a birth and ends with a death?

KB: No, not at all. Not to my mind anyway. It may start with a birth but it’s the birth of a snowflake which takes its journey from the clouds to the ground or to this person’s hand. But it’s not really a conceptual piece; it’s more that the songs are loosely held together with this thread of snow.

Fair play. Now some of your fans may have been dismayed to read that there were only seven songs on the album but they should be reassured at this point that the album is 65 minutes long, which makes for fairly long tracks. How long did it take you to write these songs and in the course of writing them did you discard a lot of material?

KB: This has been quite an easy record to make actually and it’s been quite a quick process. And it’s been a lot of fun to make because the process was uninterrupted. What was really nice for me was I did it straight off the back of Director’s Cut, which was a really intense record to make. When I finished it I went straight into making this so I was very much still in that focussed space; still in that kind of studio mentality. And also there was a sense of elation that suddenly I was working from scratch and writing songs from scratch and the freedom that comes with that.

IN THIS PHOTO: Kate Bush in a promotional image for 50 Words for Snow/PHOTO CREDIT: John Carder Bush (from his book, KATE: Inside the Rainbow)

Had you always wanted to do 50 Words For Snow or were you just on a roll after Director’s Cut?

KB: No, they were both records that I’d wanted to do for some time. But obviously I had to get Director’s Cut done before I could start this one... Well, I guess I could have waited until next year but this record had to come out at this time of year, it isn’t the sort of thing I could have put it out in the summer obviously.

Did the snow theme come from an epiphany or a particular grain or idea? Was there one particular day when you happened to be in the snow…

KB: No. I don’t think there was much snow going on through the writing of this… it was more to do with my memories of snow I suppose and the exploration of the images that come with it”.

Oh, it will be. Possibly even three quarters of the way full. Now I’m on firmer ground with ‘Wild Man’. Kangchenjunga is a Himalayan mountain; the third tallest peak in the world.

KB: Well, I’m impressed! And the Kangchenjunga Demon is another word for Yeti.

If I tell you an interesting story about that mountain will you tell me about the song?

KB: It would be my pleasure John!

Ok, the closest anyone got to conquering Kangchenjunga before the successful ascent, was an attempt led by occult writer Aleister Crowley. Now, at about 22,000 feet four of his party died in an avalanche. Their Sherpa said that the deaths had satisfied the demon and if they carried on they would get safely to the top. And Crowley said, 'Nah, you’re alright mate. I think we’ll just be off home now.'

KB: What a wimp! Well, the first verse of the song is just quickly going through some of the terms that the Yeti is known by and one of those names is the Kangchenjunga Demon. He’s also known as Wild Man and Abominable Snowman.

IN THIS PHOTO: Kate Bush in a promotional image for 50 Words for Snow/PHOTO CREDIT: John Carder Bush (from his book, KATE: Inside the Rainbow) 

Have you worked with Andy Fairweather Low before, the [Amen Corner] vocalist who presumably plays the role of the hirsute gentleman of the mountains?

KB: [laughing] Hirsute? Well, no, Andy doesn’t play the hirsute beastie, he’s one of the people on the expedition into the Himalayas. But I think that Andy just has one of the greatest voices. I just love his voice. When I wrote the song I just thought, ‘I’ve got to get Andy to sing on this song because he sounds great.’ Which I think he does. He’s just got a fantastic voice.

This is a slight digression but my favourite non-fiction book is called Straw Dogs by John Gray. And in a nutshell he’s saying that all of man’s fundamental problems come from the fact that he sees himself as being somehow separate from the animals, superior to them and in control of his own destiny, when he's no more in control of his destiny than a polar bear or a squirrel. Do you see the Yeti as being like a man or an animal or is that really the same thing?

KB: Well, I don’t refer to the Yeti as a man in the song. But it is meant to be an empathetic view of a creature of great mystery really. And I suppose it’s the idea really that mankind wants to grab hold of something [like the Yeti] and stick it in a cage or a box and make money out of it. And to go back to your question, I think we’re very arrogant in our separation from the animal kingdom and generally as a species we are enormously arrogant and aggressive. Look at the way we treat the planet and animals and it’s pretty terrible isn’t it?

Well, I think you can learn a lot about a person or a group of people by looking at how they treat both children and animals. So, yes, I agree with that. Do you think of yourself as being ecologically concerned?

KB: Well, I wouldn’t put it that way but I do have a great love of nature and I do think it’s an incredibly beautiful planet if you get chance to go and see the good bits. And I think it’s very positive that there are such a lot people looking at the whole issue and trying to do something about it even though it’s perhaps got a bit of a fashion banner attached to it and it’s pretty late in the day. Let’s hope it’s not too late that something can’t be done”.

I am going to wrap it up there. It will be twelve years on 11th October since Kate Bush released a studio album single. If she does release any new music, I doubt it will be exactly like 50 Words for Snow - though there are going to be some similarities. Wild Man provided once more that Bush is one of the most innovative and surprising artists ever. Never repeating herself, this gem of a song deserves more air play and love (though its long running time hinders it in that sense!). If you have not played Wild Man for a while, then do so now…and be taking somewhere extraordinary. I have heard the song so many times now, yet it is something that…

MOVES me every time.

FEATURE: The Chemical Brothers at Thirty: For That Beautiful Feeling: Their Finest Albums, The Artists They Have Influenced, and Their Greatest Tracks

FEATURE:

 

 

The Chemical Brothers at Thirty

  

For That Beautiful Feeling: Their Finest Albums, The Artists They Have Influenced, and Their Greatest Tracks

_________

2023 is an important …

 IN THIS PHOTO: Tom Rowlands and Ed Simons of The Chemical Brothers perform during Field Day, as part of the All Points East festival at Victoria Park on 20th August, 2022 in London/PHOTO CREDIT: Jim Dyson/Getty Images

time for The Chemical Brothers. Tom Rowlands and Ed Simons spoke with Lauren Laverne on BBC Radio 6 Music on Thursday marking thirty years of their partnership. In fact, Rowlands and Simons first began DJ'ing and producing together over thirty years ago in the early-’90s under the name The Dust Brothers, releasing their first single, Song to The Siren, in 1992. By 1995, they were performing with the likes of Underworld and touring internationally - which is when they also changed their name to The Chemical Brothers, releasing their debut album, Exit Planet Dust, in July of that year. Their new album, For That Beautiful Feeling has been released to coincide with that big anniversary (just after). Earlier in the year, DJ Mag teased news of the as-then-untitled album and how it is a big year for Tom Rowlands and Ed Simons. I remember first hearing The Chemical Brothers when Exit Planet Dust arrived in 1995:

“The Chemical Brothers have confirmed that their new album will be released this autumn.

The duo announced the news in social media post (which you can see below) with a photo of a billboard in the desert. It follows the release of 'No Reason' — their first single since 'The Darkness That You Fear', two years ago. ‘No Reason’ landed digitally in March, and is due on vinyl this month. Another unreleased tune, 'All Of A Sudden', features on the B-side.

The as-yet-untitled full length record will be the tenth studio album from The Chemical Brothers, AKA Tom Rowlands and Ed Simons. The outing coincides with the pair's 30th anniversary as musical partners, first forming as the Dust Brothers around the turn of the 1990s after meeting at the University of Manchester.

Whilst that guise was short-lived, early work quickly found favour with luminaries like Andrew Weatherall and Justin Robertson, setting the stage of 1995's debut LP, 'Exit Planet Dust' — its title referencing their name change to The Chemical Brothers. In addition to the forthcoming album, the UK dance music veterans have also confirmed a six-date arena tour later this year, with shows in London, Birmingham, Manchester and Glasgow, among other major cities”.

 PHOTO CRERDIT: White Rabbit

I want to do a bit of an anniversary feature. I am going to highlight five albums from the Chems that you need to get. I will put out a playlist at the end featuring some of their best tracks and deeper cuts. I also want to highlight some of the artists who have definitely been inspired by The Chemical Brothers. In addition to a new album, a book is coming next month. Rough Trade have more details:

“Paused in Cosmic Reflection is the definitive story of The Chemical Brothers. Told in the voices of Tom Rowlands and Ed Simons, with contributions from friends and collaborators, it is fully illustrated with 30 years of mind-bending visuals.

The Chemical Brothers are unquestionably one of the biggest electronic music acts in the world today. They emerged in the early 1990s in the afterglow of the Manchester acid house scene, an electronic music duo consisting of Tom Rowlands and Ed Simons. By 1995 they had made the leap from the underground, and their now legendarily influential residency at the Heavenly Social, into the mainstream as chief innovators of the;big beat; genre, with the million-selling success of their debut, Exit Planet Dust.  Their second album, Dig Your Own Hole went stratospheric in 1997 and they have since collectively, had half a dozen number one albums, headlined Glastonbury and Coachella and won six Grammys. They have collaborated with a host of internationally famous artists from Noel Gallagher to Beck, Q-Tip Beth Orton and Wayne Coyle.

Paused in Cosmic Reflection is a kaleidoscopic history of the band and the intoxicating world they have created, in their own words, with contributions from intimate friends and collaborators (aforementioned artists included) to Steve Dub, Adam Smith (the architect of their hallucinogenic live shows alongside Marcus Lyall), Kate Gibb and many other voices. The book is fully illustrated with photography and design work from the Chemical archives designed by Paul Kelly.

Authors Tom Rowlands and Ed Simons said: ‘Robin has been part of our extended family since 1994. When he came to us with the idea of Paused in Cosmic Reflection - a book that would join the dots between us and many of the people we've worked with over the years as well as tell the stories of clubs we've played, gigs, videos and live visuals - it made total sense. Through his relationship with designer Paul Kelly and with publishers White Rabbit, we've collectively made a book that brings you right inside the world of the Chemical Brothers - our world - for the first time ever.’”.

I want to now spotlight the five albums from The Chemical Brothers that are essential listening. The duo have just released their tenth studio album. Let’s hope that we hear a lot more from them for years to come! If you are new The Chemical Brothers or a committed fan, the albums below, I feel, contain some of their best work. I don’t think any of their ten albums can be described as anything other than excellent – making it a hard task narrowing things down!

Exit Planet Dust

Release Date: 26th June, 1995

Producers: Tom Rowlands/Ed Simons/Cheeky Paul

Labels: Junior Boy's Own/Freestyle Dust/Virgin/Astralwerks

Standout Tracks: In Dust We Trust/Song to the Siren/Life Is Sweet

Buy: https://www.roughtrade.com/gb/product/the-chemical-brothers/exit-planet-dust

Review:

“The typical club dance floor in the early ‘90s was largely dominated by a simple and relentless bass thump, a few piano chords and some soulful vocals riffing on one trite sentiment or another. As the inevitable pop-crossover came into being, that predictable sound moved increasingly into the charts. It seemed as though electronic musicians who were pushing things forward with innovative approaches to getting butts out of seats were pushing deep underground, existing happily in the rave scene or moving on to less dance floor friendly subgenres.

But by the mid-‘90s, innovative electronic music began to enter the mainstream, whether through the release of a new wave of so-called trip hop paving the way for the big beat explosion by acts like the Crystal Method and the Prodigy later in the decade. On the other hand, artists like Massive Attack and Tricky pitched everything down to a dreamy, relaxed state while eschewing the stomping bassline in favor of lazy drum breaks and moody pads. In 1995, British producers Tom Rowlands and Ed Simons released their first album as the Chemical Brothers. Exit Planet Dust, bearing a title emblematic of leaving their former sound behind (as well as ditching the copycat Dust Brothers moniker they were threatened with legal action into changing), took a vastly different direction from the typical club-friendly house sound. Working as a catalyst for their crossover into the mainstream, this record doesn’t rely on overwrought soul samples, cheesy piano chords or predictable pop patterns. Instead, it tears down the uninspiring dance floor formula from that era and replaces the pop with a psychedelic and percussion-rich sample frenzy, making it one of the most unusual and catchiest dance music records of 1995.

The lead track “Leave Home” is the most iconic on the record. A looping bass note introduces the song under the hypnotic, echoing repetition of “The brothers gonna work it out.” A wah-wah guitar lick adds a layer of unexpected filthy funk to the rhythm, and from that point on the duo adds layers upon layers of slick breaks and synth patterns. What makes the record so compelling is the Chemical Brothers’ seemingly unrefined approach to shuffling loops, beats and warped sound effects as though there were no intended goal aside from keeping the party-goer engaged. With “Song to the Siren,” it’s easy to imagine the two of them in the studio, settling on a limited palette of awesome licks and then playing with them in experimental layers and effects until they’ve just passed the three minute mark—cut and master. It’s this dynamic approach that keeps Exit Planet Dust constantly in motion and perpetually sinking and rising in and out of a deep groove.

If there is a single song on the record that seems to at least make an attempt at traditional house music appeal, it’s “Three Little Birdies Down Beats.” Though weaker than usual, the bass drum is consistent but soon drowned out by another fresh funk breakbeat. Just as “Leave Home” had its signature sound, “Birdies” has a repeating acid worm that nearly crosses the line into over-repetition before falling away into a simple layered beat breakdown. The degree to which the duo failed to make a traditional dance floor thumper is a glorious mistake because they instead created something far more interesting and timeless in the process.

Exit Planet Dust also reveals the Chemical Brothers’ sentimental side, producing some beautifully arranged, reflective sample-based mood swings. The first six tracks all play as though they were a medley, running into each other in a style borrowed from the live DJ experience. Though a listener could pick out a dozen or so looping moments that constitute their personal favorites, the entire album also works as a complete end-to-end listening experience.

Meanwhile, “One Too Many Mornings” is as close to a ballad as the record comes. In applying the Chemical Brothers’ signature sound to a slower beat, and adding airy female vocal samples dubbed over a pad of angels to an organic meandering bassline, the album goes from being a simple dance music record to a complete music project worthy of entering the conversation for best records of 1995. Noted as the second best dance album of all time by the UK’s Muzik magazine, it continued to chart in the UK for the next five years.

Upon the appearance of the Charlatans’ lead singer Tim Burgess on “Life is Sweet,” the Chemical Brothers reach beyond their previously limited appeal in electronic music circles with an effort to pull in fans of the hugely popular Madchester sound of not only the Charlatans, but the likes of the Stone Roses and Inspiral Carpets as well. In another guest spot, British folktronica singer-songwriter Beth Orton adds a sonorous dynamism to the album’s closing track, “Alive Alone.”

Nearly two decades after its original release, Exit Planet Dust sits among that rare list of records that manage to retain a timeless appeal. An unfamiliar listener today could confuse this album for a new release. There’s a larger discussion to be had about the direction the Chemical Brothers took with later releases and their inability to measure up to Exit Planet Dust, but that’s to be expected when this mammoth debut set such a high bar” – Spectrum Culture

Key Cut: Leave Home

Dig Your Own Hole

Release Date: 7th April, 1997

Producers: Tom Rowlands/Ed Simons

Labels: Freestyle Dust/Virgin/Astralwerks

Standout Tracks: Dig Your Own Hole/Setting Sun/The Private Psychedelic Reel

Buy: https://www.roughtrade.com/gb/product/the-chemical-brothers/dig-your-own-hole

Review:

“The list of ingredients reads like some techno nerd's record collection run amok. But the whole thing roars like the Massed Turntables of the Apocalypse: a high-stepping bass and drop-kick beats that sound like a speed-and-ecstasy spin on Sly and the Family Stone's wicked '69 jam "Sex Machine"; the reverb-and-percussion voodoo of reggae-dub wizard Lee Perry; a death-throe synth that howls like Jimi Hendrix's Strat in feedback purgatory; drum breaks that crack like Public Enemy DJ Terminator X doing a Buddy Rich at the decks; a call to party – "Back with another one of those block-rockin' beats!" – sampled from the 1989 track "Gucci Again," by the original gangsta rapper, Schoolly D.

And that's just the opening track on this album. You can dance to it until your limbs turn to tapioca or just sit, listen and have your mind blown inside out. Either way, "Block Rockin' Beats" will fry you alive. And along with the rest of Dig Your Own Hole, the genuinely explosive second LP by the British DJ and remix duo the Chemical Brothers, it burns the whole rock vs. techno argument into a fine, white ash.

This is a big season for taking sides. David Bowie cops some drum-and-bass licks for his latest album; U2 renounce ringing-guitar splendor for futuristic disco cheese; Prodigy rake in the long green from Madonna's record label. But don't believe the hype: Rock is not dead, and the DJ-generated, machine-driven aesthetic in late-'90s dance-floor culture is not the One True Bridge to the 21st century. Rock & roll, at its best and most basic, is dance music. And the greatest dance music, of any epoch or stripe, always rocks. A wild beauty of a record that thoroughly eclipses even the heavy-beats magic of Exit Planet Dust, the Chemicals' '95 full-length debut, Dig Your Own Hole rocks, rolls and surges without factionalist prejudice or fear of genre. Fuck tribalism and party to this.

The Chemicals – Tom Rowlands and Ed Simons – don't work with especially complex materials. With its robotic tempo and repetitive, yawning bass line, "Dig Your Own Hole" is maniacal in its relentless simplicity. In "It Doesn't Matter," Rowlands and Simons walk a perilously thin line between hypnotic and numbing, cranking up a Studio 54-style disco beat and freezing it in place with Kraftwerk-ian rigidity. At one point, the track drops down to nothing more than the rhythm, some bass hum and burbling electronics that sound like a coffee maker going postal.

But what the Chemicals may lack in variety of beats they make up for in textural and physical intensity. (Rowlands and Simons didn't call their '96 EP Loops of Fury for nothing.) "Elektro Bank" is fat, literally to the point of bursting, with hyperdrive beats, an air-raid-siren keyboard effect stuck on repeat and a sample of rapper Keith Murray breathlessly chanting, "Who is this doin' this type o' alpha-beta-psychedelic funkin'?" At times the interplay between sampled and synthesized effects – like the wild-style drums, choked wah-wah guitar and hovering ring of feedback in "Dig Your Own Hole" – feels like the real-time dynamics of a live, mad-dog funk band.

Two DJs do not make a band, conventionally speaking. And the Chemical Brothers aren't songwriters per se. They devise rhythm schemes, build tracks, generate atmospheres. But in a field dominated by solitary bedroom-studio auteurs and turntable cowboys content to cop licks from old jazz-funk and Moog-synthesizer records, Rowlands and Simons have a rare, empathic gift for picking collaborators, particularly vocalists, and wringing strange drama out of them.

In "Where Do I Begin?" the Chemicals gently tweak the stoic, mantralike singing of Beth Orton (who was also featured on Exit Planet Dust) so that her voice sounds like it's ringing around inside her head. "Setting Sun," written and recorded by the Chemicals with Noel Gallagher of Oasis, was the best single of 1996, hands down, and it appears on Dig Your Own Hole slightly remixed but with its Beatles-in-a-blender majesty intact. The acid-noir turbulence (garbled sitar, divebombing guitars) that buffets Gallagher's John Lennon-esque yelp is absolutely stunning – and just on the right side of overkill.

You also have to admire a DJ-remix act that isn't afraid of being remixed itself. "The Private Psychedelic Reel" is a Chemicals piece that Rowlands and Simons handed over to the brilliant American freak-rock band Mercury Rev for some instrumental garnish. The result is one long chord change – supercharged with sunrise guitars, exuberant drumming and whooping keyboards – that doesn't actually go anywhere melodically but ebbs and flows in its own prescribed place with irresistible force.

The track is definitely not techno music – there are too many guitars, and the beat is too weird. And it's not quite rock & roll – "The Private Psychedelic Reel" sounds more like Phil Spector conducting the Steve Reich Ensemble. But it is music for dancing, like everything else on Dig Your Own Hole. Put it on, turn it up and let yourself be moved” – Rolling Stone

Key Cut: Block Rockin' Beats

Surrender

Release Date: 21st June, 1999

Producers: The Chemical Brothers

Labels: Freestyle Dust/Virgin/Astralwerks

Standout Tracks: Under the Influence/Out of Control/Let Forever Be

Buy: https://www.roughtrade.com/gb/product/the-chemical-brothers/surrender-8

Review:

“The poster boys of big beat, that hip amalgam of electronica and rock that has dug its way into the national consciousness via "The Rockafeller Skank," have been busy since their 1997 breakthrough, Dig Your Own Hole. Maybe last year's DJ mix album, the reasonably decent Brothers Gonna Work It Out, should have been the clue, but Tom Rowlands and Ed Simons have clearly been raiding a library- sized record collection since their last offering of "original" music.

"Music: Response," the album's leadoff, starts like a ride on the Autobahn with Kraftwerk circa the mid '70s, with its analog synth blips and monotone computerwelt voices, before tossing in some ferocious beats to bring Krautrock into the new millennium. The mood carries through on "Under the Influence" with more Kraftwerk- styled noodlings. Meanwhile, their best instrumental effort is "The Sunshine Underground," an eight- and- a- half minute ride through chiming tones, wafting flute- like sounds, and sputtering and gurgling synths that intertwine with the briefest of dreamy vocals. Actually, it wouldn't have been out of place on the last Orbital album.

Surrender will receive a ton of hype based on its superstar guest appearances, and none more historically relevant than "Out of Control" with New Order's Bernard Sumner on vocals. Being electronic dance music freaks from Manchester, New Order is like the holy grail to the Chemical Brothers and it's easy to see why. The Chemicals share with their Manchester predecessors an obsession with hypnotic, melodic, dance beats. "Out of Control" works so well it could be a lost track from Low Life. After his turn on "Setting Son" with the Chemicals in 1996, Oasis' terminally out- of- style Noel Gallagher returns for another psychedelic, Beatles-esque anthem on "Let Forever Be," again snagging the rhythm track from "Tomorrow Never Knows" off Revolver.

Surrender is both the Chemical Brothers most immediately satisfying work and, perhaps not coincidentally, the most like a rock album of their career. Unlike a fair share of techno, these songs feel like "songs," not a collection of clever samples and a race to the fastest BPM on the planet. Yeah, you can go out and buy your jungle, your trance, your trip-hop and your ambient, but why would you when you'd be sacrificing the greatest gift of all: Surrender's love and understanding” – Pitchfork

Key Cut: Hey Boy Hey Girl

No Geography

Release Date: 12th April, 2019

Producers: The Chemical Brothers

Labels: Virgin EMI/Astralwerks

Standout Tracks: Eve of Destruction/No Geography/We've Got to Try

Buy: https://www.roughtrade.com/gb/product/the-chemical-brothers/no-geography

Review:

“The original masters of big electronic beats, Tom Rowlands and Ed Simons, are back with their ninth album, a return of sorts to the idiosyncratic sound that rewrote the rules of dance and pushed it into the mainstream back in the ‘90s: rough edges and analogue sonics sculpted from psychedelic synths, carefully-curated vocal samples and rambunctious beats.

Far fewer guests appear here than on their 2015 installment, though it's Japanese rapper Nene and Norwegian artist Aurora that open proceedings with retro-edged ‘The Eve Of Destruction’. Title track ‘No Geography’ holds a nostalgic euphoria while liquid disco ‘Got To Keep On’ captures that trademark The Chemical Brothers hypnotic quality, building to a maddening climax.

The discordant sounds of ‘Gravity Drops’ disorientates before the haunting ‘The Universe Sent Me’ emerges as a cry of surrender to the beat, with the relentless refrain “I cave in”.

The massive ‘Free Yourself’ evokes images of festival crowds calling en masse for liberation via dance. ‘MAH’ seethes with a latent aggression that seems to epitomise the modern condition, but the soothing vocals and interplanetary soundscape of ‘Catch Me I’m Falling’ provides a much-needed soft landing back to earth.

Three decades after forming, hitting the reset button has unleashed this iconic duo afresh, demonstrating an insatiable ability to forge the perfect dance track, whatever the era. Go get your rave on.

9/10” – CLASH

Key Cut: Free Yourself

For That Beautiful Feeling

Release Date: 8th September, 2023

Producers: The Chemical Brothers

Label: Virgin EMI

Standout Tracks: Live Again/No Reason/For That Beautiful Feeling

Buy: https://www.roughtrade.com/gb/product/the-chemical-brothers/for-that-beautiful-feeling

Review:

“Tom Rowland and Ed Simons have generally stuck to the template they set with the slew of singles they created in the early nineties after meeting at Manchester club Mecca, The Hacienda, and the sounds on their 1995 long-playing debut, Exit Planet Dust.

The blueprint set with their first three albums: the follow-up to their debut, 1997’s Dig Your Own Hole with Surrender coming two years later, has been steadily followed with subtle stylistic tweaks to remain contemporary, with strong album drops every four years, 2010’s spectacular Further being a particular late-career high point.

Here, as on Further, and their previous album, No Geography, they play to their strengths by looking inward and removing the clutter of featured guests which really lets the music shine. Their previous albums did suffer somewhat under the weight of a featured artist and this is exemplified on "Skipping Like A Stone" featuring a slightly nondescript turn from Beck whose vocals get in the way of the beautiful backing track which sounds like an imaginary Chems remix of a lost My Bloody Valentine track, and let’s face it, when your collaborations are as flawless as their work with legendary rapper Q-Tip on "Galvanize" in 2004, or "The Golden Path" featuring the vocal of Wayne Coyne of The Flaming Lips, a year earlier, there really is nowhere else to take the featured artist thing because you’ve produced two of the all-time best.

All the established Chemical Brothers tropes are here; the storming techno track, the dumb acid pounders, the bumping Hip-Hop cum electro hybrid, and even though we’re familiar with these moves now, their exemplary production values mean they can still fascinate and thrill. By cutting up the vocals of Halo Maud and using them as additional instrumentation, "Live Again" is a euphoric piece of shoegaze-inflected electronica and total peak-time Chems. Sampling the voice of underrated post-punk singer Adrian Borland (The Sound) and stitching slices of it onto the block-party beats of "No Reason" is inspired, while the fusion of soulful vocals, against abrasive synth lines and clattering beats on "Goodbye" is another one of their euphoric excursions into new wave psychedelia.

Elsewhere, sinister dubstep-influenced workouts ("Magic Wand") collide with shuffling nineties-tinged R&B replete with Nile Rodgers-esque guitar work ("Fountains"). The reworked version of 2021 single "The Darkness You Fear" puts Jungle in their place when it comes to sumptuous 70s soul vibes reworked to come alive in dark nightclubs, and in "Feels Like I Am Dreaming" we have them revisiting the slow build into grinding techno they so masterfully excel in, the massive breakdown at the midpoint is purpose-built to get those rave uncles partying like it's 1995.

Of all the nineties electronic acts that reached out beyond the underground to achieve mainstream success; The Prodigy, Leftfield, Orbital, Fatboy Slim etc, looking back at each body of work, only Underworld have truly kept up with the consistency of The Chemical Brothers, and with the scintillating form shown on For That Beautiful Feeling, it’s going to take something really spectacular to catch up” – The Line of Best Fit

Key Cut: The Darkness That You Fear

Lauren Laverne spoke with The Chemical Brothers on Thursday (14th September). I am going to move things on and put out two playlists: one with their best work and great deep cuts; the other songs from those inspired by The Chemical Brothers. First, let’s get some biography from AllMusic:

“Grammy-winning English electronic duo the Chemical Brothers are one of dance music's biggest crossover successes, known for an arena-sized sound rooted in club culture, psychedelia, and hip-hop. Rising to prominence during the mid-'90s, they unite such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion that rivaled the best old-school DJs on their own terms. They keep crowds on the dancefloor by working through any number of groove-oriented styles featuring unmistakable samples from familiar guitar riffs to vocal tags to various sound effects. When the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. From their seminal 1995 debut, Exit Planet Dust, Chemical Brothers albums are less collections of songs and more hour-long journeys chock-full of deep, bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic nor truly satisfying to the seasoned rock fan, helping them become one of the few dance acts to enjoy simultaneous success in the British and American mainstream and in critical quarters with albums such as 1997's Dig Your Own Hole and 1999's Surrender. They have remained a fixture atop the U.K. album charts and collaborated with artists such as the Flaming Lips, Q-Tip (the 2005 smash "Galvanize"), Beck, and St. Vincent. 2019's No Geography brought their total Grammy wins to six, and their tenth studio album, For That Beautiful Feeling, arrived in 2023.

Growing up, both Rowlands and Simons grooved to an eclectic musical diet, ranging from the Smiths and Jesus and Mary Chain to Kraftwerk and Public Enemy. They met while taking the same history course at Manchester University, though neither was a native Mancunian -- Rowlands enrolled because of the legendary Haçienda nightclub nearby, while Simons acknowledged the city as birthplace to the Smiths and New Order. The pair began sampling Madchester's vibrant nightclub scene together during 1989 and 1990, just at the peak of Britain's fascination with a DJ'ing style named Balearic. Pioneered at the island hot spot of Ibiza during the mid-'80s, Balearic relied on a blend of early house music, Italian disco, rare-groove jazz and funk, Northern soul, hip-hop, and alternative dance. Original Balearic DJs like Trevor Fung, Paul Oakenfold, and Mike Pickering brought the sound back to indie clubs in London and Manchester, and the style proved very attractive to musical eclectics like Rowlands and Simons.

Though Rowlands was already performing in the alternative dance group Ariel, the pair began DJ'ing together at the Manchester club Naked Under Leather in 1991. Hardly believing that their weekend project would progress, they took the semi-serious handle Dust Brothers (a tribute to the American production team responsible for one of their favorite albums, the Beastie Boys' Paul's Boutique). Despite their doubts, Rowlands and Simons' club night did grow more popular, thanks to the duo's Balearic mix of rare house tracks flavored with hip-hop breakdowns, independent-dance fusions, and ancient secondhand discards. After deciding to try re-creating their unique sound in their tiny bedroom studio, the Dust Brothers emerged with "Song to the Siren," an intriguing example of the new alternative dance scene including sample sources Meat Beat Manifesto and This Mortal Coil.

After the single was pressed up on a limited release of 500 copies, it began getting attention from Britain's top DJs, initially including an old friend named Justin Robertson but later including Andrew Weatherall and Darren Emerson. Weatherall licensed the single to Junior Boy's Own Records, and after the pair had finished university, they moved back to London to work on another EP (14th Century Sky) and a residency at another club. After their third release, "My Mercury Mouth," the duo began to get more high-profile clients for remixing: besides Justin Robertson's Lionrock collective, Primal Scream, the Prodigy, and the Charlatans all received treatments.

When lawyers for the original Dust Brothers came calling in 1995, though, Rowlands and Simons were forced to change their name to the Chemical Brothers (the proposed Dust Brothers U.K. was turned down). Word on the street and nightclub scene was so good that it hardly mattered; their new residency at the Heavenly Sunday Social quickly became one of the hottest club nights in England -- documented on the mix disc Live at the Social, Vol. 1 -- and their debut album, Exit Planet Dust, was heavily praised by critics. Another fan of the record, Oasis frontman Noel Gallagher, agreed to lend his vocals to a future single named "Setting Sun," the Chemicals' tribute to one of their own favorites, the Beatles' "Tomorrow Never Knows." The single went to number one in late 1996, and the Chemical Brothers opened for the giant Oasis concert at Knebworth besides headlining their own shows all over the world.

The Chemical Brothers' second album, Dig Your Own Hole, took the top spot on the album charts upon its release in April 1997, and on the wings of America's growing electronica push, the album sailed to number 14 stateside and went gold. The duo released a mix album in 1998, Brothers Gonna Work It Out, and followed with their third studio LP, Surrender, in 1999. The album featured a second Gallagher collaboration, "Let Forever Be," as well as songs with Bernard Sumner and Hope Sandoval, and one of the duo's most well-known tracks, "Hey Boy Hey Girl." The duo continued their white-label Electronic Battle Weapon series with a 2001 single which would soon see widespread release as "It Began in Afrika." It appeared on the duo's fourth album, 2002's Come with Us, a sort of back-to-basics effort focusing on storming club tracks. Its only guests were the Verve's Richard Ashcroft and frequent collaborator Beth Orton. Singles 93-03 was issued the next year, including "The Golden Path" with the Flaming Lips (a U.K. Top 20 hit) and "Get Yourself High" featuring k-os.

Rowlands and Simons returned with their fifth album, 2005's Push the Button, with guest vocalists Tim Burgess, Kele Okereke, and the Magic Numbers. "Galvanize," featuring Q-Tip, became one of their biggest hits, reaching number three in the U.K. and even earning a gold certification in America. The music celebrity parade continued on 2007's We Are the Night, this time including the Klaxons, Willy Mason, Fatlip, and Midlake. A second singles collection, Brotherhood, appeared in 2008, including the first ten Electronic Battle Weapon tracks (most of which ended up on their albums or as B-sides) as a second disc.

In 2010 they released Further, their first album with no vocal collaborations, and in 2011 they released Hanna, their first film soundtrack. Sticking with film, they released Don't Think to select cinemas in early 2012, which combined a Chemical Brothers live show and a visual document from their longtime art director Adam Smith. The film and live show were made available for purchase in March 2012. Another film contribution followed in 2014, when the Chemical Brothers collaborated with Miguel and Lorde for a song on the Hunger Games: Mockingjay, Pt. 1 soundtrack. With 2015 came the first Chemical Brothers full-length in five years, Born in the Echoes, which featured guest appearances from Beck, St. Vincent, Cate Le Bon, and the returning Q-Tip. It debuted at number one in the U.K. and became the group's sixth chart-topping album.

As their global tour drew to a close, they returned to their studio to begin working on their ninth studio album, desiring to bring their sound back to basics. They tried a far more direct approach to crafting tracks, working closely with Norwegian singer Aurora and Japanese rapper Nene. The Grammy-winning No Geography was released in April 2019 and included the singles "MAH" and "Got to Keep On," the latter of which scored a Grammy for Best Dance Recording. Later that year, the pair celebrated the 20th anniversary of Surrender with a massive reissue that packaged the original album with discs of remixes, B-sides, music videos, and the concert video Live at Glastonbury 2000. A slightly haunting single titled "The Darkness That You Fear" arrived in 2021, and Dig Your Own Hole was given the 25th anniversary reissue treatment, including previously unreleased demos and alternate mixes, in addition to a recording of the duo's 1997 set at the Lowlands festival.

The Chemical Brothers released the funky, stuttering "No Reason" in 2023, followed by "Live Again" (featuring Halo Maud) and a second Beck collaboration, "Skipping Like a Stone." All three songs (plus a remix of "The Darkness That You Fear") were included on the duo's tenth album, For That Beautiful Feeling. They also released Paused in Cosmic Reflection, a career-spanning book featuring interviews with the duo as well as collaborators such as Noel Gallagher, Beth Orton, and video director Michel Gondry”.

It is clear that, in addition to being pioneers and this legendary duo who have made the most amazing music, the fact they are celebrating their thirtieth anniversary but also releasing new music means we can look back and forward at the same time. I wonder what The Chemical Brothers will produce for album eleven. The Chemical Brothers have some tour dates set, so do go and see them if you can. It leaves me to wish The Chemical Brothers a happy thirtieth anniversary and, on behalf of us all…

THANK you for the music.

FEATURE: Spotlight: Nell Mescal

FEATURE:

 

 

Spotlight

PHOTO CREDIT: David Reiss

 

Nell Mescal

_________

THERE are a fair few …

interesting interviews with the superb and must-hear Nell Mescal from this year. I am not going to mention her acting brother, Paul. That is where you mighty recognise the surname for. Make no mistake: the Irish songwriter should be spotlighted and applauded on her own merit and individuality. When you listen to Mescal’s music, you know this is someone born to play and sing. Born in Kildare, Ireland, I can imagine her household being filled with music and lively conversation. You can feel and hear this natural confidence in her voice! Indeed, Nell Mescal has been singing all of her life. Like so many of the best voices, she performed at school and in choirs. Although she has been writing songs since she was thirteen, it was when the pandemic struck that Mescal decided to pursue music as a career. I first experienced her music through the 2022 single, Graduating. Spurred and inspired by a huge amount of love from fans, this natural curiosity and passion, together with intrigue from the press, means that this year has been the most prolific yet. Singles In My Head and Homesick mark her out as a remarkable talent - and someone to keep your eye on closely. I predict Nell Mescal will headline stages very soon! Her latest single, Teeth, is in my top five singles of the year. She is someone I am very interesting in hearing an album from. That would be a remarkable listen. I want to come to some interviews from this year, so that you can find out about Nell Mescal and discover where she has come from – and where she wants her career to head. Links on how to follow her on social media are at the bottom of this feature. There are a load of tour dates for next month. Go and get a ticket if you can. Also go and listen to as much of her music as possible.

I’m going to drop in some text from five different interviews. First – and to get some background about her earlier years – The Line of Best Fit spoke with Nell Mescal earlier in the year. Proclaiming her an artist on the rise, it is evident that she has caught the eyes and ears of some of music’s most influential and prominent sources early on. Testament to her talent and how her music is impacting people:

“Originally from Maynooth, Ireland, Mescal made the call to quit school and head to London to pursue music full-time at 18. She’d tried the city out for the summer before her final year, and once she started school again in the fall, she knew she needed to leave home for good and get back as soon as possible. It’s been almost two years since then, and though she’s never looked back, it hasn’t always been easy—no big change ever is. As she tells, me it’s only recently that she feels she’s finally hit her stride. This is the journey she reflects on recent single, “Homesick.” Though sonically upbeat, the guitar-driven indie-pop track channels the feelings of discomfort that accompany living on your own for the first time.

“I mean, the song’s about being homesick and not wanting to tell anyone because they’ll just be like, ‘Oh, come on, there’s no shame in coming home,’” Mescal explains. “I think for me, personally, I was putting a lot of pressure on myself to be like, ‘No, I can do it.’ And thank God I stuck it out.” In many ways, sticking it out is often the only option. After leaving and living through the kinds of transformational experiences Mescal has, trying to go back can feel futile. This is not necessarily because the place you came from is no longer there, but because you’re different enough that you won’t be able to exist in it quite the same way anymore.

As Mescal tells me, she grew up in a creative household. “My Dad would try and teach me to play the guitar," she tells me. "It didn’t work because we would fight. It was like him trying to teach me maths, like it wasn’t working. But they would always be listening to country music.”

PHOTO CREDIT: Brennan Bucannan

Mescal household names included the likes of Mary Chapin Carpenter, and even if the guitar lessons were at first a dead end, Nell still enrolled herself in other singing and music lessons for most of her young life. The possibility of being an artist in her own right, however, only occurred to her after she discovered British songwriter Birdy. “It really hit me that (music) was something I definitely needed to do when I started listening to Birdy and when I started finding my own music taste away from what my family would listen to in the car” Mescal says. “When I found Birdy, I would just listen to her on repeat. I have all of her albums. And I was like, ‘Oh, I want to be her.’”

Much of Mescal’s own musical and writing style she credits to her influences and peers. She cites early favorites as Taylor Swift and Hannah Montana, while more recent obsessions include Alex G and Ethel Cain. When I ask how she would describe her sound to new listeners, she struggles with the question not because of a lack of inspiration, but rather because, as a young musician, she feels open to drawing on and experimenting with as much as she can as quickly as possible. “I feel like I haven’t boxed myself in,” she says. “Every song I write feels like a totally different thing to me.” If she had to pick a genre now, though, she tells me she’d have to settle on indie-pop or alternative as her current label. “But I think it’s ever changing,” she adds.

This fluidity and openness sits in line with Mescal’s writing process as well. She usually has multiple songs on the go, taking any random moment that comes along to sit alone at her piano to try and get out certain verses or bridges to send to her manager. “I would say I’m a very impatient writer,” she notes. “I want to feel like I’ve tied up the loose ends as quickly as possible. It doesn’t need to be done, but I just need to know that it’s got its path and we can put it away and start again on a new one.”

PHOTO CREDIT: Brennan Bucannan

As of right now, much of her lyrical repertoire focuses on the hardships that come with friendships that have gone wrong. Another key area for her is writing about home and family. “I think,” she says, interrupting her own train of thought, “maybe I would like to start writing about things that are a bit nicer. Maybe the friendships that I really cherish. But at the moment, it’s been kind of that whole moving away thing.”

Between the ages of 13 and 15 was when Mescal got her proper start in songwriting. Using a voucher that her mom had given her as a Christmas present, she got some of her tracks recorded. From that early batch of work, she published “Crash” and “Déjà Vu” on streaming platforms, though she later took them down when she decided she wanted a fresh artistic start prior to releasing her song “Graduating” last July.

Still, it was through these songs that she made her first imprint on the music world and got connected with her now manager, Tara, and some of the other individuals with whom she maintains working relationships. “At the time when I was releasing those songs and not really understanding what the craft was, what my craft was,” Mescal says. “After meeting (Tara) I decided to come to London, so it was such a wild experience … Then I went in (to sessions) with people and learned about what it all meant. Then I decided I wanted to take those songs down and start fresh with ‘Graduating,’ which was, for me, the best choice”.

Before moving on – and apologies: I am sourcing interviews from different months and mixing them up, so the narrative and chronology might be out of sync -, i-D chatted with Nell Mescal in March, ahead of the release of the video for her massive and standout single, In My Head. It is another prime cut from an artist who keeps putting out musical gold:

“When she told her parents she wanted to pursue music full-time, she expected some pushback. Instead, they rallied behind her. “They’ve always been ridiculously supportive. I was the only sibling who was into the arts from a really young age. That came for Paul a bit later,” she says. “They were like, okay, let’s draft an email to the principal. I was like ‘Oh okay, I didn’t mean to do that!’”

If it happened quicker than Nell expected, the three years since, has been more of the same. She’s skyrocketed in social media popularity, and now has over 45k TikTok followers, and 60k on Instagram. The success of debut single “Graduating”, followed by indie thriller “Homesick”, had a hand in this. Since then, she’s performed her first live gig on Ireland’s The Late Late Show, performed with Phoebe Bridgers in Brixton (“one of the craziest moments of my life”) and is about to embark on a festival circuit tour. She’s also releasing her anticipated third single, “In My Head”, a moody, nostalgic track co-written with friend Kai Bosch, that ruminates on a universal experience: being drawn back to someone we know is bad for us, or the one person we can’t seem to shake out of our head or heart. It comes with a nostalgic, Cranberries-style video directed by Dora Paphides, which also drops today. “We always try and reach for nostalgia,” Nell says.

PHOTO CREDIT: Lewis Vorn

“It’s a step away from what I tend to write. I write about friendships a lot. And this is the first song about relationships. We all have that one person that we’ll go back to and continually fall into the loop of like, this is bad for us. But is it our fault? I definitely talk a lot about trying to criticise myself and trying to figure out and pinpoint all the bad stuff that I might be doing. I feel like the song is quite sad. The bridge feels like this revenge point, or the point where it's like, okay, it's not our fault. We're in this loop because of this person. And we need to break away from it. And so we kind of end the song on this high. It's all a lesson too. But it's nice when there's a bit of hope thrown in there, I think. And it's not just miserable for three minutes and 30 seconds of life.”

“In My Head” is very much sad girl music, there’s no escaping that, but with a hopeful surge in the bridge, Nell’s telling us we can break the pattern today so we won’t repeat it tomorrow. The sad girl influence comes from her own musical faves: Lucy Dacus, Gracie Abrams, Birdie, SZA and patron saint of the sad girls, Taylor Swift. Luckily, she’s also a huge musical theatre fan, which alleviates some of the ennui. It’s hard to be online without being exposed to sad-girl-jams though, especially on TikTok. “I don't feel well-known on those apps,” says Nell of her online and offline following. “It's very weird. I feel like the only time you kind of feel the effect of their eyes on you, or when you see them in the flesh, is in a show. When you go and see those people in person, it's like, oh, this makes a lot of sense. Looking at numbers on a phone is just draining. You can't be doing that all the time.”

“I definitely don't deal with burnout very well,” she adds. “I do need to get better at it. And I need to go away and figure that out. Because the song’s out on Friday, I've been on my phone all week, just making sure everything's right and perfect. Right now I can afford to do that. But like, I'll definitely need to stop and figure myself out soon.”

It’s possible though, that you might know Nell Mescal without knowing her music. Nell’s brother, after all, is Paul Mescal. It’s impossible to escape mentioning this, not least because she recently went viral for a video reacting to his Oscar nomination, and she’s just returned from LA — an experience she can only describe as “bizarre” — where she celebrated that nomination with the rest of the Mescal family. Her feelings on the presence of Paul in coverage of her own music career are clearly conflicted. “I mean, I can't be too mad at it, because it's been my fault,” she says. “Like, I can't hide how happy I was for my brother. I guess I didn't think [the video] was ever going to be as big as it was, and that very quickly changed. And I was like, oh, shit, I don't know what to do here. But I think that, when it comes to stuff like that, you kind of just have to grit your teeth a bit and just say, okay, it's fine. And hope that one day, people don’t use my brother's name as a headline. But people just don't really know what to do. They’ll be like, just pair them together. It's fine”.

There are a few more interviews that I want to pop in. In March, NYLON shot the breeze with an artist who was gaining serious momentum. Six months later, and Nell Mescal is at the stage where she is getting so much buzz. Many predicting she will headline stages and be in the mainstream before too long. I think that, as she is still so young (twenty), this is an artist who is happy putting out singles. Pleased to have this dedicated fanbase. That said, I can well see major artists like Taylor Swift heading her way for possible collaboration:

“Were there any artists at the time inspiring you to take that leap?

Birdy was that one, so getting to open for Birdy is incredible because all my early songs are very much Birdy, 1000 percent. She was a huge draw to the writing side of things. She was just so honest and was very much saying sentences that really made me feel something, but were also really beautiful. I feel like I hadn't really had an artist that did that for me up till that point. I didn't understand music enough to be like, “Oh, songs can actually mean something other than just you like listening to the song.” It's nice to have the escape of “I'm just listening to the song and I'm not going to really care too much about the meaning.” But I think Birdy was one of the first people that I was like, “Oh my God, this is actual poetry.”

When you decided to start in the industry, what were those steps for you?

It was weird, because I started in COVID and had my first song out literally February of 2020, and I did it myself through CD Baby, which I did for the next three songs. I just released the songs and was expecting it to just be my friends and family [listening]. And then that circle opened up a little bit, and I met the right people through it. I was very lucky that it happened quick enough, but not too quick… I was sweating for sure. I was absolutely like, “I need someone to email me,” or “I need to send more things out.” But I was very lucky that I also was kind of protected in the space of having that time to really just be putting stuff out by myself and trying to figure it out that way, and not having too much pressure. I was very glad when I got an email from Tara, my manager.

Do you have a process for writing?

When I'm writing with other people, it feels like there's a pressure that's kind of welcome to be like, “Okay, imposter syndrome has to stay away.” So you have to just hit them with something and keep going. I've been quite lucky. I haven't really been experiencing too much writer's book at the moment. I've been maybe too impatient where I'm just any lyric, just put on paper. When I'm writing by myself, it will be a much longer process, which is also very welcome because there are just certain songs need more time.

Have you gotten to the stage where you are starting to write specifically with the end goal of an album?

I think I'm always kind of writing for a bigger project. I don't know what project it is, but I think that there's certain songs that I'm like, “okay, this is going there, and I'm okay if this doesn't see daylight for two more years.” Other songs, I need to have its moment [immediately], mostly because I'm impatient. It's an exciting time right now, and I think that I'm writing songs that I'm really proud of, especially this one. “In My Head” is my favorite song I've ever released, so I'm really excited for it”.

 PHOTO CREDIT: Lee Malone

A couple more interviews to go. In July, WhyNow spoke with Nell Mescal. In addition to comparing her sound to the likes of Margaret Glaspby and Maggie Rogers, they also asked about the darker side of the industry. Mescal has faced discrimination, misogyny, and sexism. It is something (sadly) most women in the industry have to deal with – and, in 2023, why should we still be having this discussion?! In any regard, the strong and massively accomplished Nell Mescal is ploughing forward and showing why she is going to be a massive name soon:

“As a young woman in music, Mescal says she’s seen the darker side of the industry, too, especially with the misogyny aimed at up-and-coming female artists. She says she’s not had much of it herself – on account of people being “too busy” accusing her of “being a nepo-baby” – but says she and other female artists are trying to support one another when that misogyny does arise.

“We’re all quite young and a lot of us are female, non-binary people that are just kind of coming up together. I think we’re all a shoulder to lean on,” Mescal explains. “It’s such an easy thing to do, to shit on women that are good. People love to fucking tear women down when we’re just trying to get a foot in the door.” Mescal says she’s determined not to be put off by any of it. “We’re women and we’re strong. We’ll just keep going… but people need to stop shitting on women that are really talented and work really hard for a living.”

One person who offered Mescal some early support was musician Phoebe Bridgers, who dated Mescal’s brother Paul (they’ve rumoured to have since split but have not commented on this publicly). It culminated in Bridgers asking Mescal to perform with her during a sold-out show at London’s O2 Academy Brixton. Mescal took to the stage to perform ‘Georgia’ from Bridgers’ 2017 album, Stranger in the Alps.

PHOTO CREDIT: David Reiss

“It was an incredible experience,” Mescal says, recalling the moment she nervously stepped out on stage with Bridgers. “I don’t think I was expecting the audience to be as receptive as they were. It’s always been one of my favourite songs since I first heard it. Getting to do that with that crowd… well, I think I started crying immediately, as soon as everyone cheered when I walked out,” she laughs at the memory. “It was probably one of the coolest moments of my life so far. It was just really fun,” she says of the “pinch yourself” moment.

On the flip side of moments like this, Mescal says she’s under no illusion about how hard it is for young artists to break through in the industry right now as they face more and more barriers to making music than ever before. It’s a difficult financial climate for new artists to make ends meet, she says, from the “merch cuts” – referring to venues taking a portion of artist’s merchandise sales – to “Spotify not really paying their artists.”

“Everything is so expensive too,” she says, talking about the increased cost of touring. “I just hope that I’m still doing it in the next 50 years and that I can still afford to do it. I hope I earn some money and that people still want to hear the songs that I’m singing. I think longevity is the key and [I want] to keep doing it for as long as I can”.

I am going to wrap up with one of the biggest and most prestigious interviews Nell Mescal has been involved with. I am going to go back to the February/March 2023 edition of Rolling Stone UK. I wanted to end with an older interview, as we can see how far Nell Mescal has come since then. She achieved all she set out to do, though she has exceeded all of that. She is now an artist who is primed for superstardom:

“In what Mescal admits to being her biggest pinch-me moment of the past 12 months, she joined Bridgers on stage at Brixton Academy last summer to perform her 2017 track ‘Georgia’. “I just got a text from Phoebe and immediately thought it was a joke. I called my mum and she started screaming,” she recalls. “I said yes immediately and then was frantically trying to convince myself I knew all the words and getting ready. It was a quick thing, but the best experience.”

Although that brief cameo with Bridgers marked one of Mescal’s biggest live experiences to date, she says that hitting the road with Phoebe Green has allowed her to work on the performance side of her craft while also changing the relationship she has with some of her more emotional songs.

“My drummer Meg was recently saying the difference between me on the first day of tour and [the] last day was just incredible. It’s been such a catalyst for me to just be like, ‘I wrote these for a reason and I’m singing them for a reason.’”In turn, it has also helped liberate her from the personal pain that inspired tracks like ‘Graduating’.“It does take a while but you feel that click eventually happen. It happened during this live tour, it stopped feeling like a chore and I could have more fun with it.”

 She is also under no illusion that some fans will attend her shows purely because of the Mescal name, but she is entirely confident that she’ll win them round as new members of her fanbase.

“I’ve been singing my whole life. Paul is incredible and it’s been amazing to see what’s happened for him in the past few years. People might come because of his name, but if they stay then it’s because they like the music.”

And although her brother might be carving out a career as a Hollywood regular, Mescal has conclusive proof that she —as the youngest of three talented siblings —is in fact their parents’ favourite.

“I’m on both my parents’ lock screen,” she jokingly admits. “I’m the baby girl.”

For 2023, Mescal promises more music and a string of buzzy performances —including slots at the industry-heavy Great Escape.“I’ve been listening to a lot of music that has been all over the place and I don’t want to be tied down,” she says.

“I just can’t wait to release ‘Homesick’ straight after ‘Graduating’, because it shows an entirely new spectrum to my sound. That’s what I’m aiming for”.

I really love – if it wasn’t clear! – Nell Mescal’s music. I have seen interviews she has given and she is so accessible and charming. A real professional, her music is unique but relatable. I think all of this means that she will be releasing superb music for many more years to come. I was intending to publish this feature next week. I couldn’t really wait to praise and spotlight the stunning Nell Mescal! If she is new to your ears, then do make sure you spend some time immersed…

IN her wonderful music.

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Follow Nell Mescal

FEATURE: Inside A Book of Dreams: Kate Bush’s Supreme Cloudbusting at Thirty-Eight

FEATURE:

 

 

Inside A Book of Dreams

  

Kate Bush’s Supreme Cloudbusting at Thirty-Eight

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THIS is a single…

I did not get opportunity to celebrate when doing a run of Hounds of Love pieces. This is because the album’s second single, Cloudbusting, was released on 14th October, 1985 – almost a full month after Hounds of Love was released. I have covered this classic before. However, as Hounds of Love is back in my mind and this is an important song to mark, I am coming back to it briefly. I will bring in a few articles/interviews where Kate Bush spoke about the inspiration behind one of her most beloved singles. I want to spend some time with a video with a unique edge. Before I get more into Cloudbusting and its impact, here is Kate Bush discussing a truly phenomenal song:

“This was inspired by a book that I first found on a shelf nearly nine years ago. It was just calling me from the shelf, and when I read it I was very moved by the magic of it. It's about a special relationship between a young son and his father. The book was written from a child's point of view. His father is everything to him; he is the magic in his life, and he teaches him everything, teaching him to be open-minded and not to build up barriers. His father has built a machine that can make it rain, a 'cloudbuster'; and the son and his father go out together cloudbusting. They point big pipes up into the sky, and they make it rain. The song is very much taking a comparison with a yo-yo that glowed in the dark and which was given to the boy by a best friend. It was really special to him; he loved it.

But his father believed in things having positive and negative energy, and that fluorescent light was a very negative energy - as was the material they used to make glow-in-the-dark toys then - and his father told him he had to get rid of it, he wasn't allowed to keep it. But the boy, rather than throwing it away, buried it in the garden, so that he would placate his father but could also go and dig it up occasionally and play with it. It's a parallel in some ways between how much he loved the yo-yo - how special it was - and yet how dangerous it was considered to be. He loved his father (who was perhaps considered dangerous by some people); and he loved how he could bury his yo-yo and retrieve it whenever he wanted to play with it. But there's nothing he can do about his father being taken away, he is completely helpless. But it's very much more to do with how the son does begin to cope with the whole loneliness and pain of being without his father. It is the magic moments of a relationship through a child's eyes, but told by a sad adult. (Kate Bush Club newsletter, 1985)

'Cloudbusting' is a track that was very much inspired by a book called A Book Of Dreams. This book is written through a child's eyes, looking at his father and how much his father means to him in his world - he's everything. his father has a machine that can make it rain, amongst many other things, and there's a wonderful sense of magic as he and his father make it rain together on this machine. The book is full of imagery of an innocent child and yet it's being written by a sad adult, which gives it a strange kind of personal intimacy and magic that is quite extraordinary. The song is really about how much that father meant to the son and how much he misses him now he's gone. (Conversation Disc Series, ABCD 012, 1985)”.

I have said how it was a bit of a mystery and travesty that Cloudbusting only got to number twenty in the U.K. The first single from Hounds of Love, Running Up That Hill (A Deal with God) got to three. The fact that Donald Sutherland appeared in the video should have seen it get higher on the chart! Maybe there was that excitement in August 1985 that Kate Bush had ‘returned’ with this amazing song. Perhaps used to the Hounds of Love album by the time Cloudbusting arrived, it is a shame it only scraped the top twenty and hasn’t had the same resurgence Running Up That Hill (A Deal with God) did – thanks to Netflix’s Stranger Things. I will get to the video for Cloudbusting and why, Tom Taylor of Far Out Magazine wrote a feature last year about the song. He also muses that the line “I still dream of Orgonon” means. What is Orgonon?! Actually, it was the home, laboratory and research centre of the Austrian-born psychiatrist Wilhelm Reich (1897–1957):

“There’s a pretentious argument out there that every song is from a true story or book in some shape or another, but if that’s the case, then it can be easily asserted that barely any capture the feel of the tale from which they are based as perfectly as Bush with her 1985 release ‘Cloudbusting’. It was the second single from the iconic Hounds of Love record, which somehow only peaked at a disappointing 20 in the UK charts.

Though the euphoric feeling of the cello-driven anthem could be experienced by a blade of grass, the question remains: What is it about, and what mystic tale does it draw upon? Although it might sound fantastical on the surface, and the meaning remains obscure as a result, Bush rather fatefully crafts a pastiche out of snippets from the Peter Reich memoir A Book of Dreams. In short, Bush’s anthem is a bittersweet collage of the loving relationship between a radical philosopher and his son.

Having trained in Vienna with Sigmund Freud, Peter’s father Wilhelm Reich, arrived in the US in 1939, where his books and ideas about human sexuality gained a substantial audience. Therein he set about making the world a better place by extolling the power of sexual liberation and the eternal force of Orgone Energy. However, his mission was viewed as subversive by many, and this threw up difficulties.

Nevertheless, the stress of surveillance and other issues only strengthened his bond with his son and at their rural home in Rangley, Maine, they set about world-changing experiments. In their vast open garden sat a Cloudbuster. This giant telescope-like construction was connected to little more than hollow pipes. Nevertheless, it was asserted that this machine could channel live-giving Orgone energy and that energy could break up clouds, influence weather and summon UFOs.

This might sound wild on the surface, but in Peter Reich’s emeber-glowing memories, it was little more the sort of loving bond that makes the world go around in a whirlwind of wonder. As Joan and Erik Erikson opine in an appraisal of the memoir: “Nature offered a wonderland of sensory stimuli, parents allowed freedom and gave devoted care, and other visiting adults supported his physical playfulness with amused appreciation.”

Continuing: “But as his father’s ally, he became enmeshed in a star wars fantasy too ‘far out’ to be reconciled with reality. Love, loyalty, and the loss of father and his guiding purposes demanded resolution. … But the much-loved land and tensely experienced sensory memories have endured and are described with such authentic simplicity. If more of us could remember childhood with such clarity of recall, adulthood could be both enriched and clarified.”

Reich’s works, once widely respected, were now viewed as obscene by some, but as Peter Reich says, “I loved my dreams more than reality.” Whether that was a good thing or not is something that he wrestles with throughout the book, but it never resides as a regret. After all, there is a call for wonderment in the world. Kate Bush’s art has always sought that same sense of primordial exultation—the book stirred that same feeling in her.

Sadly, the eudemonia of days spent dreaming by the cloudbuster would end in tragedy. Wilhelm Reich’s obsession that Orgone Energy could be a cure created issues. He crafted and sold energy harnessing devices that would improve your sex and cure all sorts of ailments. While many celebrities purchase these devices and Sean Connery and Norman Mailer swore by them (and there is even an argument that they were central to kickstarting liberation), the government were less keen on the philosopher asserting that could cure cancer”.

I want to move on to the video. I have sourced this feature before. It is important to highlight DAZED and their 2015 celebration of an iconic song and huge video. One of Kate Bush’s most important moments, Cloudbusting is cinematic, beautiful and paired with this staggering and wonderful video. DAZED collected together some key players - Donald Sutherland, director Julian Doyle and editor Terry Gilliam, with additional insights from Peter Reich:

“Kate Bush (excerpt from a Kate Bush Club newsletter, 1985): “I was inspired by a book that I first found on a shelf nearly nine years ago. It was just calling me from the shelf, and when I read it I was very moved by the magic of it. It’s about a special relationship between a young son and his father. The book was written from a child’s point of view. His father is everything to him; he is the magic in his life, and he teaches him everything, teaching him to be open-minded and not to build up barriers... But there’s nothing he can do about his father being taken away, he is completely helpless. But it’s very much more to do with how the son does begin to cope with the whole loneliness and pain of being without his father. It is the magic moments of a relationship through a child's eyes, but told by a sad adult.”

Terry Gilliam: “Kate called me to direct the video and I said, ‘No, how about Julian (Doyle)?’ They had a great time shooting, but somewhere in the editing a conflict developed and I became the mediator. Kate knows exactly what she’s doing, she knows what she wants. She’s the sweetest person on the planet but she’s absolute steel inside!”

Julian Doyle: “Kate came to me with a storyboard, which I remember had the sun coming up with a face on it. She was a lovely lady, with a great smile that she gave generously. I understood her influences – like, I knew immediately where ‘It’s coming through the trees’ (film sample on ‘The Hounds of Love’) came from and things like that. I also knew about Wilhelm Reich, because there was interest in him among the new women’s movement which was exploring the female orgasm and I was close to the women involved.

IN THIS PHOTO: Kate Bush on the set of the video for Cloudbusting/PHOTO CREDIT: John Carder Bush

Donald Sutherland: “Barry Richardson, who was the hairdresser on Nic Roeg’s Don’t Look Now, asked me if I’d do a music video with Kate Bush. I told him no and we went on to other conversations. A couple of days later there was a knock on my door. I lived in the Savoy Hotel (in London). On the river. Suite 312. I loved it there. So cosseted. So private. Only the floor butler rang the door. I opened it. There was no one there. I heard a voice saying hello and I looked down. Standing down there was a very small Kate Bush. Barry had told her where I lived. What can you do? She wanted to explain what her video was about. I let her in. She sat down, said some stuff. All I heard was ‘Wilhelm Reich’. I’d taken an underground copy of his The Mass Psychology of Fascism with me when I went to film (Bernardo) Bertolucci’s Novecento in Parma. Reich’s work informed the psychological foundations of Attila Mellanchini, the character Bernardo had cast me to play. Everything about Reich echoed through me. He was there then and now he was here. Sitting across from me in the person of the very eloquent Kate Bush. Synchronicity. Perfect. She talked some more. I said OK and we made ‘Cloudbusting’. She’s wonderful, Kate Bush. Wonderful. I love that I did it. (What do I remember) about doing it? I remember being in the car and the hill and them taking me, taking Reich, away and looking back through the back window of the car and seeing her, seeing Reich’s son Peter, standing there. And I remember the first morning on set seeing her coming out of her trailer smoking a joint and I cautioned her, saying she shouldn’t smoke that, it’d affect her work, and she looked at me for a second and said she hadn’t been straight for nine years and I loved her.”

 Peter Reich: “At one point in the video, the federal agents in black suits pull from a file cabinet a newspaper article about a rainmaker. In fact, during a drought​ in 1953, blueberry growers hired Dr Reich to make it rain in blueberry country along the Maine coast. I was along for that rain-making operation in the summer of 1953 and helped crank the levers. No rain was forecast. A most vivid memory: being aroused in the early morning hours just before dawn and led to an open door to observe a steady rain.​ The incident with federal agents coming on our property occurred a couple of years later, that day in August 1956 when I ran up that hill.  That was the summer the government burned several tonnes of Wilhelm Reich’s books and equipment.”

Julian Doyle: “I thought it should look like a real story – like a film, not a pop video. I wanted to point out the story was real, which is why I had Kate take out the book. I also wanted more time so I doubled up a section of the music. Kate lengthened it even more, then she wanted to change the edit.  I thought they were mistakes – so in bringing in Terry (Gilliam) it stopped her making bad changes to the edit as she accepted what Terry said. The editing process is very difficult – as it goes on for some time you have to be quite stubborn in character, keeping a balance in being open but not changing (things) because you are bored with them. Someone like Eric Idle, who is extremely smart and quick-witted, is a disaster in the cutting room, because he gets bored quickly and soon wants to cut out every joke.

“I was pleased we got up early to get the (shot with the) sun rising behind Kate falling down. I was also pleased with the track to close-up (on Donald Sutherland) where he changes from smiling to worried and then I pan into light flare. (When Donald had finished shooting his scenes) I said to him, ‘We have finished with you, thanks – but I just want you to walk away down the hill towards the sun.’ He looked great taking off his jacket. The very last shot of the shoot was the very last shot of Kate punching the air. There are only seven frames before I cut.”

Peter Reich:  ​“Watching it for the first time, and ever since, not infrequently, the video’s emotional power is overwhelming and enduring, even after 30 years – or 60 years, for me. I did meet Kate once or twice.  She gave me a very British umbrella, how very appropriate, one rainmaker to another”.

I will round up now. 1985 was a hugely important one for Kate Bush. She released a new album after three years (1982’s The Dreaming was a success, yet EMI felt it was a little underwhelming commercially). She delivered a spine-tingling and wonderful lead single. Keeping the momentum going with Cloudbusting on 14th October, 1985, I am always shocked that this single did not get higher than it did! I feel there is this opportunity to use the track somewhere. Get it back in the charts. I know that Donald Sutherland has happy memories of the shoot. Kate Bush turned up outside his hotel room when he was staying in England for a film he was working on. The bravery and fortitude to stride up to this world-renowned actor and convince him to appear in her video! She knew what she wanted, and we witnessed this incredible tenderness between Bush and Sutherland. Clearly they respected one another and developed this friendship. Bush would have been twenty-seven when Cloudbusting was released, so it was almost like Sutherland was this alternate father figure. An amazing collaboration for this timeless classic. On its thirty-eight anniversary, I was keen to revisit it. Even though Cloudbusting was used in the eleventh episode of the third series of The Handmaid's Tale, it has not had the same sort of exposure and revival that Running Up That Hill (A Deal with God) has. Almost thirty-eight years until Kate Bush released the truly wonderful and head-spinning Cloudbusting, I think that this ode to a rain-making device deserves its…

MOMENT in the sun.