TRACK REVIEW: Kitt Philippa - Fahrenheit

TRACK REVIEW:

Kitt Philippa

Fahrenheit

9.6/10

The track, Fahrenheit, is available via:

https://open.spotify.com/track/7bkFfmVol3wYBhFzQTDrb1?si=89dUnBOPRwazC_VKR4sE7Q

GENRE:

Indie

ORIGIN:

Belfast, U.K.

The album, Human, is available via:

https://open.spotify.com/album/7ipnHJKBQdgjutJ3RnyABL?si=DCGeIZKuReueJAmZkpf3Cw

RELEASE DATE:

11th October, 2019

LABEL:

Paragon Records

__________

I have been familiar with the music…

of Kitt Philippa for quite a while now. Now only is the Belfast-based artist a stunning future prospect, they are raising a few subjects that I need to address. I want to discuss non-binary identification and making the music industry gender-blind; artists from Belfast and why I am drawn to E.I.R.E. and Northern Ireland right now; the upbringing of musicians and how that can change; the way early experiences and new discoveries can inspire something unique. I also want to address newer artists and social media coverage/spread; a little about voices and how powerful they can be; complete albums and how this year has been a really big one for the album – a little about where Kitt Philippa might head next. We are in 2019 and, still, there is this issue we have. Artists are divided by gender. There are male and female artists who do not mind being discussed in terms of gender but, in this modern age, I do think there is a stigma attached to artists who do not want to be referred to as ‘he’ or ‘she’. I have seen, through the years, artists calling for a scene that is accepting of the decision to be non-binary and not have these limiting pronouns assigned to them. A lot of times, it has been women speaking out and, by and large, not a lot has been done to progress things and ensure there is discussion. I know I keep talking about gender inequality at festivals and how more women need to play, yet my argument does not really regard that inequality: I am more concerned with the fact award ceremonies split categories in terms of gender. There are established artists like SOAK who do not feel happy and comfortable being labelled or referred to as ‘she’ or ‘he’. Kitt Philippa, likewise, does not want to be defined so rigidly. We do live in a time where gender fluidity is much more possible and acceptable, yet there is still this unsureness in the industry how to accommodate artists who do not ‘fit in’, in that sense.

It seems a shame there is not greater discussion and awareness; communication between artists and those in power in the industry. It seems recent remarks by Sam Smith have moved things forward in terms of gender divisions at award ceremonies. As this article explains, Smith’s desire to be referred to as ‘they’/’them’ means we could well see change occur:

“British singer Sam Smith on Friday asked to be referred to by the gender neutral pronouns they/them, citing “a lifetime of being at war with my gender.”

The Grammy-winning musician, 27, made the announcement in an Instagram post titled “My pronouns are they/them.”

“I’ve decided to embrace myself for who I am, inside and out. I’m so excited and privileged to be surrounded by people that support me in this decision but I’ve been very nervous about announcing this because I care too much about what people think,” the ‘Stay with Me’ singer wrote.

Smith’s Instagram posting swiftly got more than 400,000 likes.

Smith said it was too early to explain “what it means to be non-binary” but the announcement comes six months after the singer came out on social media as “not male or female” but floating “somewhere in between.” Smith won four Grammy awards in 2015 after releasing debut studio album ‘In the Lonely Hour’ about unrequited love.

Smith joins a growing number of people who wish to use they and them as pronouns, including Jill Soloway, the Emmy-winning creator of transgender series ‘Transparent,’ and ‘Billions’ TV series actor Asia Kate Dillon”.

There are a lot of artists who do not want to be referred to as male or female. This is not a new occurrence, mind. For decades, there has been this fight to get the industry for change and for people to stop being so rigid and unwavering. I do think it is positive we are going to see some progression in the BRIT Awards and I do hope that rolls out to other award ceremonies. Kitt Philippa is a vital artist who is adding to the conversation and ensuring there is greater evolution and acceptance.

I will stay on this theme for a bit, because I do think we are still not fully understanding and informed when it comes to non-binary artists. I agree award shows should change practices and stop separating awards in terms of male and female. The issue gets more complex when we address gender inequality on the radio and at festivals – whether we drop gender terms altogether or whether non-binary artists are separate from that. I am not sure exactly when Kitt Philippa had that epiphany and moment of certainty, but they will help other artists speak out. It does seem extraordinary that we are still a little unsure and shocked when an artist wants to move away from society’s conventions and tags and identifies as neither male or female. I do think, as a society, we are starting to become better informed and tolerant; I do still think the music industry needs to do a lot more. When it comes to music, one can claim that everyone is the same; it is about the music and gender divisions and labelling is just a division that creates problems. I want to bring in an article that concerned MTV creating gender neutral VMAs and, although it is a bold move, there is another problem: the fact the music industry is failing women:

“As British singer-songwriter Marika Hackman points out, the notion that art created by men and women can’t be judged side by side is utterly illogical. “It’s not like we’re doing athletics and there’s a physical difference here. This is a creative, intellectual thing. My gender has nothing to do with that. I’m not afraid of being pitted against the men.”

Beneath that top tier, women still struggle to make an impact in pop, while genres such as rock and hip hop have always had a greater gender disparity. Declaring gender obsolete isn’t going to work until the entire music industry gets the memo. It needs more than just token gestures: it needs structural change.

Still, when it comes to overlooking female artists, award ceremonies have nothing on music festivals – particularly the ones that focus on rock and guitar music. Defending Reading & Leeds’ 90 per cent male line-up back in 2015, its organiser, Melvin Benn, also initially tried to play the “gender blind” card. “For me it’s never been about the gender of the band,” he said. “It’s been about the quality”.

It is quite a tricky situation but, with artists such as Kitt Philippa, Sam Smith and others speaking out and taking a stand, it will lead to a more natural and evolved scene. There is still the problem of gender inequality, but it is important we are all more aware of non-binary artists and the fact that, for too long, there have been needless divisions and some artists have been holding back who they really are. I am not sure whether I have fully covered the topic. I do feel dropping gender categories at award ceremonies will spill into other areas and it is wonderful seeing artists like Kitt Philippa help lead a charge. They are very important and I know there are people out there given strength by Kitt Philippa and what they are doing. In simple terms, mind…who is Kitt Philippa? I shall let them explain:

“Kitt Philippa (KP) searches for grace, and the luminous, in words met with music. Although raised on classical, the songs are strangely urban and often conveyed with digital sleight. An organ scholar and an experimentalist, KP plays piano, guitar, clarinet, prayer bowl and bicycle wheel. The songs may often reflect perilous times yet in so doing, KP takes us out of ourselves and into the most rarefied state. On a song like ‘Human’ the listener is being willed to be close, to rediscover that most beautiful denominator. “Times are troubling,” and while “…there’s an acknowledgement of that pain, somehow hope tries to rouse you”.

PHOTO CREDIT: Bibiana Reis

I think will come back to gender later in this review, but I wanted to talk about areas outside of London regarding music. We still get into this habit of focusing on London and seeing the rest of the U.K. as a separate entity. I do think there is a divide that needs to be addressed. I do think a lot of great music comes from London, but how often do the media focus on lesser-unearthed areas? I have covered a few Dublin artists recently and talked about the scene there and why the city is so productive right now. There is a lot of great Post-Punk emerging from the city, and I think that is a reaction to what is happening in London and the Government and the changing face of Dublin’s skyline. There is a lot of redevelopment and gentrification that is altering Dublin’s personality and history. When you look at Belfast, there is a slightly different sound emerging. I think Brexit and the political turmoil of the time are impacting artists like Kitt Philippa and they cannot help but be affected by what is to come. Will they be able to travel to the rest of the U.K. without border checks and boundaries? I know young musicians like them will want to venture into. How easy is that going to be? I will explore that more a bit later, but it is clear artists far and wide are being impacted by Brexit. In terms of the musical quality, I think Belfast is a jewel that needs to be promoted. We do not see too many articles dedicated to Belfast, but I know there are so many great acts playing from there – or who started life there and have moved on. From Sister Ghost and Brand New Friend through to Jealous of the Birds, there are plenty of brilliant acts who are making their way. Whereas I think Dublin’s best music is band-led, I do think the finest Belfast music is solo-based. That might seem a bit all-sweeping; it is clear Belfast is housing brilliant solo artists covering a wide sonic spectrum.

PHOTO CREDIT: Charlene Hegarty

I do want to move on and get to the nub and heart of Kitt Philippa. I want to stay on the subject of Belfast and great areas that are not given much focus. Maybe the industry’s narrowness and lack of understanding regarding gender and non-binary artists can be linked to a geographical stubbornness. Have we become too focused on London and music from here? I know social media allows artists from all over to get their music heard, yet the mainstream media is not really doing enough to shine a light on artists such as Kitt Philippa. They are a wonderful artists and someone who defines the eclectic nature of Belfast. I would urge people to step outside of their comfort zones and explore areas like Belfast for great music. It is a proud and vibrant city that has always spawned terrific artists. I do wonder whether Kitt Philippa will be remaining in Belfast or, as they get bigger, London will see like a more suitable base. That is down to them, but I do think Belfast and its wonderful musicians deserve more love and column inches. The Belfast artist has made big strides over the past couple of years. Clearly, there has been change for Kitt Philippa but they are really hitting a peak now and creating the most affecting music. I want to bring in a snippet of a review from The Irish Times, where we learn a bit more:

Philippa may not be a household name, but they already have form north of the Border. Growing up in a household predominantly geared towards music of a classical persuasion, they mastered the piano, guitar and clarinet before studying music at Queen’s University. At 21, they had played with the Ulster Orchestra; not bad going, all in all. A move toward the contemporary saw them participate in a talent development programme for young musicians at Belfast’s Oh Yeah centre; last year, they won the Northern Irish Music Prize for Single of the Year with the title track of this album. Even Hozier is a fan; after hearing their song Hosanna, he declared that “impressive is too weak a word” and rushed off to download the EP”.

It seems that Kitt Philippa had a rather structured and academic musical upbringing. Not that they were too formal or rigid, but there was a lot of discipline, focus and determination. It seems like music was always in the blood of the aspiring artist and they had that dream early on. The fact that the talent development programme in Belfast opened doors for them is brilliant. Kitt Philippa has already won an award for Human and the album of the same name is collecting some big reviews. I can only imagine what childhood was like for them. In terms of the records they listened to, maybe there was a bit of parental structure; they would have listened to a lot of them parents’ collection and got inspired to delve and explore. I think they mixed Classical music and something more refined with expansive and modern music. Listen to the Human album and there is the beauty and calm of Classical music with something more daring, diverse and eclectic. One gets this very fulsome, emotional and direct music that will seep into the soul and move the heart. I do think childhood musical experiences are pivotal when it comes to later sounds. Whilst artists like Kitt Philippa are inspired by what is happening now, the musical bouncing around the childhood house would have been instrumental for them. Before I come to reviewing a track from Human, I wanted to ask whether more will come online regarding Kitt Philippa. They have an official website already and there is some good information. Although there are a few photos out right now, I am curious whether there will be more soon and whether we might get a former window into Kitt Philippa’s life. We do know a little about them at the moment but, in terms of musical tastes, how they are bonded to Belfast and what drives them, there is a little mystery. Maybe that is for the listener to piece together, but I do think Kitt Philippa will guide other artists and provide a lot of inspiration.

PHOTO CREDIT: Christopher Barr

There will be many out there who want to know more about them and what drives the songwriting process. I guess the music itself is important and we can extrapolate a lot from it. I know a little about Kitt Philippa, but I wonder whether they will give more interviews in the future. Certainly, one would love to know more about the Belfast scene and how Kitt Philippa has progressed; what they have planned regarding touring a little about the inspiration behind Human’s tracks. Although 2019 has been a big one for them, I do think 2020 will be a huge one for Kitt Philippa. They have put together this extraordinary album and one cannot help but be affected and stunned by the voice. They are/is a great songwriter and storyteller, but I do think the vocal performances throughout are remarkable. Listen to the beauty, strength and depth of Kitt Philippa’s voice and one can appreciate how important music is to them. I cannot think of anyone who has the same tones and layers as Kitt Philippa. When you put the album on and let the songs unfold, so much personality, potency and sheer wonder emerges from the voice. In a way, they project so much biography and story with the voice alone – maybe biographical words would distill and distort that?! In any case, one cannot find another artist quite as mesmeric as Kitt Philippa. I do not often bring in other reviews but, as I did yesterday, it is adding context and, as I am not reviewing Human, it adds a bit more depth to my own review. Although The Irish Times’ review offered some constructive criticism, they do raise some valid points. Kitt Philippa is relatable and writes about common themes but they do so in a wonderful rich and personal way:

“With the tried-and-tested songwriter’s themes of love, loss, time and place informing Philippa’s lyric sheet, many tracks read as messages of empowerment both to the writer and the listener. Human is a state-of-the-nation plea for understanding (“Humanity is all we need, unite people, less of the hate”) over a soulful melody and a whip-snap electronic beat. L insists that “I am worthy, I can be free”, while Lion’s emotional crescendo peaks with the line “Sometimes I’m dead from all this living/Dying just to feel alive”.

PHOTO CREDIT: Stephen White

Amidst the keyed-up self-examination are several tender love songs, although some of them are streaked with heartache, such as You and Farenheit (“Forget about it/Can’t forget about her.”)

Many of these songs have an internationally commercial appeal; you could easily imagine hearing the title track on the radio anywhere in the world, for example. Similarly, a sense of experimentation is never far from Philippa’s songbook, whether it’s the subtle electronics that have earned them comparisons to James Blake, or the blurry atmospherics of 68 2/4, which draws parallels with Bon Iver”.

I have seen a lot of positive reviews from Human, and I think it is one of the best underground albums of 2019. I wanted to concentrate on Fahrenheit, as I feel it is the strongest track on the album and the one that best defines the gifts of Kitt Philippa. I shall move on in a minute, but I wanted to give a general nod in the direction of 2019. It has been a wonderful year for music and one where so many great albums have arrived. That can be said of any year, I guess. I think 2019 has been a very strong year because artists are thinking more about the album in general and how it flows. So many albums have been released in the past that concentrate on a few singles and there is very little thought given the album as a story. This year has been a year where artists are keen to tell a story and keep the listener hooked throughout. As such, I think we are becoming more attentive and falling back in love with albums as a concept – rather than streaming singles and cherry-picking songs. I think it is hard to divide Human and reduce it to a few songs. Although I have brought in one song for special attention, I would urge everyone to get Human and play every note. It is stunning work from an artist who has a very bright future.

There is so much happening in the opening moments of Fahrenheit. Before a note is sung, one hears pulsing electronics that higher organ notes. There is a brooding from the background that is balanced in sharp contrast with a more urgent and spiked sound that provides this balance of pondering/romance and anxiety. You do get a chance to envisage what the song is about and what provoked its creation. Of course, when Kitt Philippa comes to the microphone, more of the story is revealed. They talk about a heart being spent and being left alone. They almost cries out in the opening lines; a plea not to be abandoned and this desire for salvation. Rather than a literal shipwreck, one can envisage the pains of a breakup or personal struggle. I am not sure what the truth is for them, yet it is clear Kitt Philippa is tackling a bad situation and trying to find stability. The vocal is full of longing and emotion; reminding me a bit of London Grammar’s Hannah Reid in terms of the way it can sort of buckle the knees with its passion and power. From the more linear and settled introduction, the song opens up and it is almost like we are being exposed to this wide scene and vista. Some have compared the song to the work of Billie Eilish, because there is so much happening in the composition. Kitt Philippa’s voice sways and moves; the music mixes in so many different shades and ideas, we are enticed and entranced by this wonder. When talking about the song, Kitt Philippa had this to say:

"There's a heaviness in the lyrics, and an intensity to their delivery. The cross-section of the track probably reveals difficulty interacting with self and others, at times. Looking at thermometers to understand how something feels is relatively simple; I interchanged the language to maybe try to view things in an easier way."

I wonder whether they are referring to struggles in terms of identification and identity, or whether there is a relationship that requires repair and recovery. One cannot help but listen to Fahrenheit and see it as a song about the struggles of communicating with the self and other people; the difference between Fahrenheit and Celsius…maybe the need for greater understanding.

PHOTO CREDIT: Charlene Hegarty

I guess we can all identify with what is being said in the song. Although many of us cannot directly identify with Kitt Philippa and the changes they have faced, maybe the song is a message to society and how we all have trouble with communication and acceptance. On a basic level, the subject of difficult communication can be appreciated and understood by everyone. I think we all have issues being heard and understood; Fahrenheit is a song that will help move and inspire others. I do love the blend of Kitt Philippa’s stunning, soulful and emotive voice and the always-moving and extraordinary composition. One needs a few chances to get the song in the head. There is so much happening that you are sort of blown away. I love the beat of the drums and how there is this organ sound that would not seem out of place on Radiohead’s Kid A. You get Jazz tones and clicks; Kit Philippa is pining and in need of an anchor. When they speak of deciphering it and trying to understand, one wonders whether that refers to Kitt Philippa’s decision to become a non-binary artists and other people’s perceptions. Maybe there is wider meaning in terms of struggling to be heard and connect with others. Whatever the meaning, Fahrenheit is a stunning song from a remarkable album. I do think a lot of focus will be put on the vocal performance, but Kitt Philippa is an exceptional lyricist and composer. One could isolate the composition and you would have something that could score a film scene or big moment in a drama. There are so many different genres working alongside one another. You get some Chill and Jazz with Soul and modern Pop. Fahrenheit is a song that occurs in the middle of Human and, to many, is the finest track. It is a wonderful track from an artist who, before too long, will be a star. I do hope that radio stations play Fahrenheit to death and many cast their eyes the way of Kitt Philippa – they definitely warrant a lot of love and support.

Kitt Philippa has a few dates coming up, and they will be playing in Dublin and the U.K. I do wonder whether they will be playing in Belfast in the coming months or whether areas and locations are more beneficial for them. By that, I mean Belfast has an extraordinary live scene, but there seems to be more opportunities and avenues in places such as Dublin and London. I opened by talking about non-binary artists and gender fluidity. We are making steps in the right direction. I think there is a problem when it comes to women being overlooked. One applauds bodies like the BRIT Awards for introducing non-binary categories; I wonder whether that will create issues when it comes to sexism and gender inequality across the board. I do think it is very important non-binary artists are heard and proffered because, for too long, there have been these barriers and stifling labels that have restricted artists. People like Kitt Philippa are helping open eyes in the music industry and inspiring other artists. They might not know it: Kitt Philippa is speaking to so many people who, until now, have felt ignored and isolated. Of course, there are other non-binary artists around, but it is good to see progress. 2019, as I say, has been big for them and Kitt Philippa has released one of the best albums of the year. I love what we find on Human and it makes me wonder where they will go from here. Apart from some tour dates, many will have their eyes cast the way of Kitt Philippa. I know they will keep on moving in 2020 and I would encourage people to keep an eye out and celebrate this fantastic artist. As much as anything, I hope Belfast music gets a bit more acclaim and mainstream coverage. It is a fantastic city that continues to grow, expand and amaze. With artists such as Kitt Philippa releasing fantastic music, I hope it is not too long before Belfast is back…