FEATURE: How to Win Fans and Influence People: 2017’s Trends and 2018’s Promise

FEATURE:

 

How to Win Fans and Influence People

 PHOTO CREDIT: Unsplash

2017’s Trends and 2018’s Promise

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I am looking forward to 2018…

PHOTO CREDIT: Unsplash

because it provides a chance to shed off the bad of this year. That sounds all-negative but there have been some bleak times in 2017. In terms of work, personal life and happiness – as I have revealed before – it has been a very challenging and forgettable one. I am not prone to the tradition of resolutions – they get broken and it seems rather meaningless if you do not enforce them every day of the year – but having resolve is a different thing. Rather than a promoted, cliché list of well-meaning, half-arsed resolutions; it is better adopting a utilitarian, sentient approach that looks at the entirety of life – rather than narrowing down to diet/love etc. It is good having aims for a fresh year: the desire to change is something few of us are compelled to do. Sticking with those aims is harder than one might think. I feel, given the Satanic-sized log of 2017; I have no choice but to take a rather drastic and severe approach to the year ahead. Few of my concerns and goals revolve around anything as poultry as dieting and exercise. Music has been the saving grace of my year and something that has brought pleasure and fulfilment. I am going to dedicate my time to journalism, of course, but take a different approach.

PHOTO CREDIT: Getty Images/Press Association

Rather than spend hours at a laptop typing pieces; the need to get out and engage with the people is paramount. Having London on my doorstep means there is an easy and convenient link to all the biggest venues and artists coming through. With drive comes ambition – I am keen to include bigger acts into my repertoire rather than fledgling acts with less of a visual eye (and music that has fewer fans and will get me less exposure). Making my site more multi-media and cross-platform is not only a good way of adding social catalyst and meaning – it means my work gets to more people and is afforded a more visual/audio angle. I love the way my site looks but I limit myself in terms of scope. I will include more videos and features; looking at classic albums and launching a new interview feature; plotting a new all-encompassing website and trying to rival the big sites in music. Personal development is on a par with personal enrichment – something that is evident in the wider music industry. Whilst it is important to aim high and be ambitious as you possibly can; looking after your health and mental well-being is equally crucial – one cannot be a sustained and energised success if the mind and body are flagging. Health and happiness are solid goals but prone to entropy and the unpredictable winds of life. One need not take big steps but making small changes here and there can make a big difference.

PHOTO CREDIT: Unsplash

One of the things, to me, that has defined 2017 is a sense of exhaustion and strain. I have heard a lot of great music but, worryingly, there have been so many social media statuses that border on suicidal. Artists are being pushed/pushing themselves to the ragged ends and that is creating scars (mental and physical) that makes me worry too much pressure is being put on the shoulders. I am determined to give myself more downtime and care less about numbers, visibility and popularity. To remain relevant, one must remain prolific and consistent: if that comes at the expense of your passion and health then that means the long-term repercussions will be telling. It is counterintuitive taking a more relaxed approach to music but, for musicians and journalists alike; quality will increase and you will be healthier and more relaxed – if it means you are not mega-massive on Spotify and on BBC Radio 1’s playlists, then so be it! Although the modern market suggests an every-hour-of-the-night-and-day mandate is the way to get big and noticed – we need to collectively counteract and highlight the effect it is having on the mind and body. I feel, creatively and intellectually, music is as hungry and curious as it will ever be. The biggest aims for 2018 should revolve around the work-life balance and ensuring there is adequate room for relaxation and recharge. I will come onto the trends (musically) of 2017 – and where next year’s music will go – but want to highlight why small, grassroots personal improvements can go a long way.

IN THIS PHOTO: Flinders Street station, Melbourne/PHOTO CREDIT: Unsplash

Among my smaller goals for next year (not resolutions; part of the overall plans) concern relocation, travel and sociability. I want to move to London or Manchester – both have their own advantages but it is a case of whichever bites first! – and see more of the world. I have not been abroad for years and, among my go-to locations, are Melbourne and L.A. Both are expensive trips but ones that, for musicians and writers, are essential. So few artists I know are holidaying and giving themselves chance to see the world and detach from the industry. Travel, as they say, broadens the mind: the creative portals are replenished and cleansed; you get chance to unwind and get a greater understanding of the world. The 2017 Brexit/General Election debacles, in part, have arisen from a lack of understanding – not realising how different people live and why the issue of immigration is not really an issue (that negatively impacts our togetherness and identity). Other plans I have (next year) revolve around personal relationships and love. I want to be in a relationship and prioritise those who have been there for me – discarding and ignoring those who offer nothing but stress, hate and annoyance. Too many artists/people are concerned with making big changes and racing too far ahead. Addressing smaller things that are impacting life negatively need to be tackled and remedied.

IN THIS PHOTO: Rews are tipped for big things in 2018/PHOTO CREDIT: Elaine Hill

This year has been a good one for music but one that has been defined by a certain rigidity. There has been, like all years, a variety of wonderful albums from all genres. What I have found is little to suggest Rock, Alternative and Indie sounds will claim any stronghold next year. The Pop scene has got a lot of press but I have found the sort of sounds coming out pretty dour and threadbare. Apart from promising artists like Lorde; there is too much infantile, commercial and cliché Pop sounds dominating the charts/radio. Hip-Hop has had an impressive year and given more weight and attention – Grammy nominations and some stunning L.P.s mean it will continue to grow and inspire next year. One of the best things I have seen come out of 2017 is the sense of variety, ambition and quality of newer artists. The mainstream has been good and produced stellar work but it is the fresh acts – getting play on the finer radio stations and making their presence known on social media – adding promise, health and vibrancy to the music scene. I am seeing more Electronic artists splicing other genres into the mix; Post-Punk/Alternative artists revert to the 1970s and 1980s – even though they have not reached the giddy heights yet – and a pleasing blend of progressiveness and heritage. Artists are not abandoning physical formats and sticking rigidly to Spotify: I have seen a lot of C.D./cassette releases and (artists) putting their music onto vinyl.

PHOTO CREDIT: Unsplash

If the dogma of the mainstream is to continue as normal; the maxim and mission statement of the underground is transverse and expansive: push boundaries and take bigger risks regarding sounds, convention and limitations. I will not get into all the trends we have seen regarding the business side of the industry – I will write a piece touching on that this weekend – but there is a definite split between the mainstream and underground; one which leads me to believe, ironically, there is going to be greater integration and balance in 2018. I have mentioned health and mental improvement: how we need to take more care and not be slaves to the digital demands and whip of music. There is no stigma attached to detaching (slightly) from music; finding the opportunity to see more of the world. There has been a lot of isolation and division in the country: creating a more inclusive and connected music world has to rank high in the collective psyche. Whilst there have been some interesting anomalies and patterns emerge from 2017: I am more interesting seeing how much will change in the coming weeks/months. There is an inherent and inescapable link between politics and society – how they have fared, changed and charted – and how musicians react. This one has seen some bad decisions and terrible decisions by those elected and nominated to rule – I feel this year’s most consistent and coherent sounds have come from those artists slightly under the radar.

I hope next year will see greater prominence given to personal development and reconnaissance of the mainstream – so there is an easier path and access for new artists to get their music heard. I feel the hegemony of Pop and commercial sounds will wane: more innovative and ubiquitous Pop artists will make a bigger dent. I have mentioned Lorde as a Pop exception rather than a rule – more like-minded artists will come through and steal some focus from the hollow and streaming-focused (more concerned with notching up numbers as opposed to creating something meaningful). Not only has the likes of BBC’s Sound of…2018 suggested Pop has overtaken Grime/Rap (when it comes to the newcomers) but those included are not your average chart-pining type that need others to write their songs and leave no memory in the mind. I am excited seeing how Pop evolves and what kind of music is coming through. Female musicians are going to have a big say in how 2018’s music mutates. Hip-Hop/Rap stars such as Cardi B, SZA and Princess Nokia have the talent to create year-defining music – it will be encouraging seeing these male-dominated genres shift (slightly, mind) in the right direction. Whereas some genres might take a bit longer to revive and strike – Rock and Alternative among them – I feel quality will be a defining trait for 2018.

IN THIS PHOTO: Tinashe/PHOTO CREDIT: Getty Images

Not only will the mainstream Pop newcomers place more emphasis on durability and meaning: there will be, I reckon, less dependence on the biggest mainstream stars and greater faith and belief in the new generation. The biggest shifts that need to occur – and I hope will – is to provide a bigger focus on genres like Hip-Hop; the improvement and diversification of Pop; women having a bigger say in music – parity, equality and compassion being right at the top of the tree. Maybe I am naïve but I know there is that will and desire for change – how much of that will be fulfilled has yet to be seen. The rise of new Pop; the stronger role Hip-Hop will play; the speculated albums of 2018…all things to look forward to. Apart from Jack White, Billie Marten and Cardi B; there are rumours of new Florence + The Machine material. Popstars like Tinashe will bring new stuff out whilst Tom Misch, Robyn and Jorja Smith are signalling – speculation concerning Vampire Weekend, The Vaccines and The 1975 releasing are rife.  Those aforementioned artists, between them, are making me excited about 2018 already: throw into the fact we always get out-of-nowhere surprises and epic albums arriving means it will be a fascinating, versatile and quality-focused year. It is hard to predict which of the rumoured albums will worry the poll-makers this time next year (as they announce their favourite albums of 2018). I feel Jack White will be near the top – that urge for mainstream Rock/Blues is palpable; he always provides something strange, delightful and genius!

IN THIS PHOTO: Tom Misch/PHOTO CREDIT: Getty Images

If this year hasn’t been quite as strong as 2016 – the best albums of that year are finer in my view – there have been some important discoveries, trends and albums released. It has been exciting, unpredictable and ever-moving; artists treading new ground and some fantastic future-stars revealed. I am hopeful for the New Year and know there will be some important shifts and big accomplishments. It is important, for myself as much as artists out there, to concentrate on the self: music will only be strong and at its very best if you are healthy and happy (as can be). It may sound idealistic to suggest some positive-thinking is all one need – when I know the reality is far more complex. As we bid farewell (almost, anyway) to the eventful and memorable 2017: a fresh year arrives and, with it, plenty of hope and prediction. It is impossible to know exactly where 2018 will take us - but I have every confidence we will see big improvements, shifts and steps…

 PHOTO CREDIT: Unsplash

IN the right direction.

FEATURE: Pro Bono? Is the U2 Frontman Right About the Music Industry?

FEATURE:

 

Pro Bono?

 PHOTO CREDIT: Martin Schoeller (for Forbes) 

Is the U2 Frontman Right About the Music Industry?

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APPARENTLY; modern sounds are “very girly”.

IN THIS PHOTO: U2/PHOTO CREDIT: Getty Images

Those are not my words - they emanated from U2’s esteemed lead, Bono. There is a tinge of irony hearing those words from a band-leader who has not produced anything truly raucous, masculine and essential in a fair few years. U2’s latest record, Songs of Experience, has been backed by many critics and, yes, it does have passion and shots of urgency in it. One gets the sense of desperation and alarm when listening to the record: you never feel like the songs are addressing vital issues and speaking for the nation. The songs are not overtly angry: they are not girlish or feminine, either. It is as well the current U2 record has commanded kudos – many seeing it as the best album the Irish band has produced this century – but I wonder whether the comment from Bono is a hype move – a marketing tool to get people invested in Songs of Experience?! There are truisms and clichés on the record; so I wonder whether Bono should be talking about originality and inspiration in music – rather than judging whether there is enough anger in music? I get a little aggrieved when people like Bono make this kind of statement: proclaiming the industry too soft...and there is no real righteousness and indignation. He went on to say the only real anger is coming from the men of Hip-Hop – and that is not a good thing. I feel that quote has been taken out of context: he does not mean it is bad to see Hip-Hop put in the spotlight: it is a poor show seeing only one genre take the initiative (when the whole industry should be...).

PHOTO CREDIT: Getty Images

I wonder whether, as the title of this piece implies, Bono’s remarks are for the public good?! Is it wise to make statements when you head a band who are being accused, in some quarters, of lacking the spark we know they can produce?! I have been clenching quite frequently this year when reading about various musicians making statements in the press. The furore and smog of Morrissey’s latest clanger is still hot and being punted around. Whether his remarks were isolated and misrepresented – he claimed some abuse victims, when speaking about Harvey Weinstein and Kevin Spacey, knew what they were getting themselves into – or not; it has not been a great time for the biggest musicians. We ended them to lead the way and provide guidance; rather than come out with ill-advised opinions and sweeping statements. I wonder whether Bono’s comments hold any clout. One can argue the predicted revival of Rock has been rather damp and homogenised. The fiercest albums of the year – Royal Blood, Queens of the Stone Age and Foo Fighters among them – have not concerned themselves too heavily with political issues and societal cancers. Queens', to be fair, flexed their observational muscles a bit but there was never that sense of an all-out-aggressive and pumped-up record. The Disco edges added kick and swagger but lacked the teeth and motivation of earlier albums.

IMAGE CREDIT: Boneface 

I have not heard an album this year that coherently and impressively articulates the anger and frustrations of the people. Eminem’s Revival was plenty angry enough but remains scattershot, diluted and bereft of the wonder we know he can summon. I wonder if it is a case of – to flesh out Bono’s remark -  music being angry AND good?! I don’t think it is a bad thing Hip-Hop and Rap are carrying the torch for the disaffected and riled – Bono did not mean to slate them; only to suggest they are the only visible voice of rebellion – because the genre has struggled to get proper mainstream acceptance. The closer (Hip-Hop) gets to the mainstream, the better for music as a whole. While the genre(s) is largely male: it is not the case the men are the only ones capable of standing out. That is the role Hip-Hop has always played. The genre, alongside Rap, is for the minorities and the poor; the people who have to struggle to get attention and are trampled underfoot. The finest poets of Hip-Hop established themselves as the voice of those who had none. That has not changed in the modern day – even if there is not the same quality and innovation as past decades – so one should not be shocked Bono should make such a remark.

PHOTO CREDIT: Unsplash

 I agree there is not enough genuinely fresh and memorable Rock/Alternative music around. The likes of IDLES and Wolf Alice are a rare breed that does not epitomise the industry. Maybe the up-swing is around the corner – I think it will not happen for a few more years – but I wonder whether it is a case of patience and waves? The reason we had legendary bands like Oasis and Rage Against the Machine in the 1990s was (because) there was an outlet to be heard. Those bands are passionate and angry in different ways – Oasis a more positive and all-come-together vibe – but there were more working-class journalists that supported their music; they could thrive and evolve because the scene was set up for them; keen to welcome them in and stacked with like-minded artists who can challenge them and push their creativity. The reason we do not have the same angry, awe-striking bands is down to the way the industry is structured. There are comparatively few working-class writers in the bigger publications – most newspapers and magazines look for interns; those in paid jobs tend to come from more privileged stock – and there is less visibility regarding magazines. The likes of NME – once the natural destination for proper, big bands – is digital and losing its edge. Maybe there is a lack of talent and desire but I feel the cessation of masculine, angry music is the lack of understanding writers – those who have the same background, and therefore, are likely to spot potential when they hear it!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

It was the ‘girly’ part of Bono’s remarks that cheesed me off somewhat! He is making the assumption that, A) angry, proper music is being made by men and, B) anything that lacks a Molotov firebomb is wimpy and effete. U2, as I said, aren’t exactly N.W.A. or Slipknot, are they?! An ageing Rockstar – albeit it one who has helped shape music for the better – should not really make generalised, unsubstantiated remarks when his own output lacks real spirit and charge. Anger and aggression are only valid and purposeful when they have depth and speak to the people: if it is personal vitriol, or has no way of connecting with the people, then there is no point putting it onto the page. (Do we really need to hear that all the time?!). Before I take the defence against Bono; I agree we need to open the legs of music a little more – it is wearing a cardigan, sitting shyly and reading a book at the moment! That is not to say it should rip off its knickers, lay on its back and, well…you can finish the rest! Where we are now – in terms of pertinent, potent Rock – is light-years detached from the strength evident in the 1990s/early-2000s. I do not believe there is a lack of potential and ammunition out there (I hear a lot of independent acts who can provide hope) but we need to look at the structure of the industry and the artists we elevate to the highest positions.

PHOTO CREDIT: Unsplash

The dominance of privileged, middle-class artists at the forefront means many artists are concerned they will not gain acceptance and promotion from taste-makers and the public. It is not a case of Rock’s new attack being right on the horizon: the air is so thick with smog and cloud we cannot see the horizon right now. You cannot expect things to take a complete about-face without any structural changes and questions being raised. IDLES are a great working-class band who possesses anger and solid songs. They are never going to be on the same level as, say, Ed Sheeran whilst music (the charts, at least) favours the wealthy and commercial. I am encouraged by the likes of Wolf Alice and IDLES but one would be pushed to rattle off a list of fellow artists who could overpower the mainstream and provide a resistance. That is not their fault but that of the labels, media and, I guess, public. Music is becoming more insular and personal than any other time. Shows like Top of the Pops and the charts meant people would eagerly tune in and watch as the best artists in music played their latest song – we would go out and buy that and, in turn, that would build a market and compel others. Now, we do not have a music T.V. option and the charts are less relevant than ever. Streaming services make it easier to gain access to music’s bountiful bosom - but most people are ignoring the charts and proffering their own tastes. Social media has its benefits but is less powerful (when it comes to leading a rebellion) than a cohesive and populist chart/T.V. show.

IN THIS PHOTO: Wolf Alice/PHOTO CREDIT: Getty Images

There are angry, manful and primaeval artists ready to rampage and slake but, until the doors are open and the rose-coloured glasses are cleaned – how likely are they to get anywhere near the dinner table? I know Bono has not put as much thought into things as me but maybe he should. In order to give any credence to anything the likes of him say; one needs to dig deeper and look at the argument from both sides. If the ‘best’ Rock/Alternative artists out there are concentrated on their own lives and issues; do we need to look elsewhere, until we can transform music for the better, for something concrete and physical? I think, when Bono talked about the ‘girly’ side of music, he was not meaning it is a sexist way. Music, unfortunately, has not been overrun with female-made sounds nor is it too florid and sensitive. I think – I hope – he meant there was too many Electronic/Electro-Pop acts and artists who favour texture and colour over a kebab to the face? Music can only grow and survive if we welcome new artists and foster their personality. I disagree things are girlish and weak: anger, impression and spirit can come from different sources and genres. It is awfully close-minded and offensive to suggest anything that strays from Rock and Alternative sounds is, by omission, inferior and pointless. Music goes through stages and, whilst we saw a prevalence of harder sounds in past times; now, there is a wider market, and with that, one will find a less concentrated and one-channel sound...

PHOTO CREDIT: Unsplash

I think, in many ways, we are in a better position than we were decades ago. New artists can have a say and do not need to rely on a record deal; new sub-genres are coming and there is far greater choice than ever before. The recent this feature is less succinct than one would hope is because you cannot challenge/address Bono’s comments without justifying your decision – and looking at the flip-side of the debate. Maybe his was a flippant and misconstrued remark but I do agree with the assumption there needs to be a kick up the backside of the industry. Whether we can reach the same peak as the 1990s remains to be seen – I suspect not; for many reasons – but that is not to say all hope is lost. A lot of the older, established order have passed their best days and are not in the position to inspire the new generation. The most essential and energised albums, in the Rock milieu, are from newer acts; those closer to financial and personal struggle than those who are more comfortable and successful. Struggle and hardship compels great music with stature: if we are augmenting musicians who are so removed from that way of life they cannot authentically rally and protest – are we ever going to see change?! I disagree with the term ‘girly’: maybe ‘demure’ is a better term?

PHOTO CREDIT: Unsplash

Most musicians have anger in their hearts – one cannot look at the world and the way politicians are mismanaging huge issues – and not feel a sense of disgust and aggression. The reason Pearl Jam and The Who (two bands Bono named-check when looking at better days) managed to articulate and define the feelings of the masses and isolated alike was the willingness of the industry and public to open their arms (and wallets). We have a lot of angry artists playing but I feel a lot of that anger is less creative: many are angry because they cannot get their voices heard and have to fight so hard to get noticed. One cannot rationalise a remark like Bono’s without querying why we are in the position we are in right now. I agree with Bono that we need those big, epic-sounding artists at the forefront: that is impossible when there are so many issues and oversights being ignored. Rather than condemn Bono as foolhardy and offensive – maybe a thesaurus would have been a good Christmas present! – we should use it as a chance to review and challenge the contemporary order. If, as I suspect, he feels Pop, Folk and Electronic music is taking too much of the pie – what can we do to make it so the music industry has better quiet-loud, genre-mix balance? I love a lot of the less ‘masculine’ and experimental music around but feel there are valid reasons why we are seeing fewer Rock heroes/heroines emerge – that go beyond talent and quality reasons. I disagree with the way Bono expressed himself; him saying music is girly: I do agree with the fact there are fewer exciting and society-defining artists that will stick in the mind decades from now. Overriding that is a complex issue - but one I feel we need to tackle...

 PHOTO CREDIT: Unsplash

AS soon as the New Year’s Day hangovers subside!

FEATURE: Outsiders, Inside: Great Alternative, Rock and Indie Albums from 2017

FEATURE:

 

Outsiders, Inside

PHOTO CREDIT: Unsplash

Great Alternative, Rock and Indie Albums from 2017

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THEY might not accrue the same sort of hype and celebration…

PHOTO CREDIT: Unsplash

as the big names of the mainstream – but that is what makes these artists so good! I have been thinking about the best Indie, Rock and Alternative albums of the year: the sort of record that possesses more depth, intrigue and power than your average chart-bound offering.

Here are twelve records I recommend you add to your collection as soon as possible. They all bristle with energy, fascination and outsider-kick – from some of the best songwriters in music right now…

ALBUM COVERS: Getty Images

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The National - Sleep Well Beast

Release Date: 8th September

Label: 4AD

Critical Snapshot:

“Some will fault the National for not evolving their sound more radically, or speaking more explicitly to the political moment. But Sleep Well Beast is what it is: an emotional battlefield, beautifully drawn, familiar and true. Berninger voices a panicked, depressive insomniac who might be any of us, trying to hold it together while everything falls apart” – Rolling Stone

Stream the album here.

Manchester Orchestra - A Black Mile to the Surface

Release Date: 29th July

Label: Lorna Vista Recordings

Critical Snapshot:

“Manchester Orchestra have always been earnest, though; it’s just that, until now, they’ve been hamstrung by their own impulses. By consciously interrogating everything they do, they’ve created something that doesn’t need a condescending suffix to justify its existence. It’s a new high-water mark for the band, and one well worth the pain to reach” – Drowned in Sound

Stream the album here.

Julien Baker - Turn Out the Lights

Release Date: 27th October

Label: Matador Records

Critical Snapshot:

“…By the end of the album, she’s landed on another cluster of paradoxes: “I’m better off learning how to be/Living with demons I’ve/Mistaken for saints/If you keep it between us/I think they’re the same." The way she sings it, you’d believe she’s telling her secrets to you and you alone, all evidence to the contrary. You’d believe that loving your demons—not banishing them—might just be the secret to that evasive grace” – Pitchfork

Stream the album here.

Fleet Foxes- Crack-Up

Release Date: 16th June

Label: Nonesuch; Warner Bros.

Critical Snapshot:

“Ultimately, Crack-Up is an album about purpose, mutual support and reconciliation, nowhere better expressed than in “Third Of May/Odaigahara”, the complex, nine-minute song quixotically chosen as the first single. The title refers to the Goya painting celebrating resistance to Napoleon; but it’s also, apparently, the birthday of Skyler Skjelset, Pecknold’s bandmate, co-producer and lifelong best friend, separation from whom has clearly triggered the undertow of betrayal and regret coursing beneath the album’s surface. “Aren’t we made to be crowded together, like leaves?” muses Pecknold over miasmic strings, pounding piano and guitar. It’s as if, trapped in the quicksand of fatalism, he’s urgently seeking resolution through the reflection of his life in others: “To be held within one’s self is deathlike, oh I know/But all will be, for mine and me, as we make it”. And as Crack-Up confirms, things often work out so much better when we work with others” – Independent

Stream the album here.

Robert Plant – Carry Fire

Release Date: 13th October

Label: Nonesuch Records Inc.

Critical Snapshot:

“Plucky folk ballad ‘Season’s Song’ stands out as one of the album’s highlights as well as acting as the perfect example of Plant’s intention on merging the traditional folk rock sensibilities with an epic orchestral landscape. This is a familiar trait that flows throughout the album, which acts as a melting pot of abstract ideas thrown together by Plant and his band, from the jangly African guitar lines of title track ‘Carry Fire’ to the more industrial rock and sonic experimentation of ‘Bluebirds Over The Mountain’.

While ‘Carry Fire’ showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality” - Clash

Stream the album here.

The War on Drugs - A Deeper Understanding

Release Date: 25th August

Label: Atlantic Records

Critical Snapshot:

“…And that lack of articulation, that inability to identify the source of pain and the path to redemption, becomes another of the record’s themes. But all that happens beneath the surface, almost subliminally; it’s the impossible sweep and grandeur of the music that tells the real story, of how a rush of sound can take us somewhere we can’t explain” – Pitchfork

Stream the album here.

Phoebe Bridgers - Stranger in the Alps

Release Date: 14th September

Label: Dead Oceans

Critical Snapshot:

“There’s a ghostly quality from the opening note of Smoke Signals which grabs the attention straight from the start. Like many of Bridgers’ songs, it’s a hushed, contemplative ballad with the singer’s world-weary voice reflecting on the deaths of David Bowie and Lemmy, before namechecking The Smiths song How Soon Is Now. It’s the sort of song that pulls you into an album and demands, in its own very quiet way, that you hear some more” - musicOMH

Stream the album here.

Perfume Genius - No Shape

Release Date: 5th May

Label: Matador Records

Critical Snapshot:

“The “holy shit” factor of Perfume Genius has just shifted locus, then, from Hadreas’s reportage to his art as a whole. On Perfume Genius’s debut, Learning, we had Mr Peterson, a song in which Hadreas’s teacher takes advantage of him and then jumps off a building. Here, we have Hadreas’s desire to transcend his body and self – the no shape of the title – and glorious, inventive, shape-shifting music to match” – The Guardian

Stream the album here.

The Afghan Whigs – In Spades

Release Date: 5th May

Label: Sub Pop

Critical Snapshot:

“It’s worth remarking that, in the years between the Whigs’ breakup and reformation, no one could fill the void they left. Do to the Beast left me doubting that even they could do it anymore, but In Spades is a fitting rebuke to that infidelity. I still hold out hope of hearing McCollum’s guitar on an Afghan Whigs album again, but maybe I’m being overly sentimental. Ultimately, this is the best thing Dulli has put his name to since Blackberry Belle. One look at his discography over the intervening period will confirm just how good that is” – Drowned in Sound

Stream the album here.

The Horrors - V

Release Date: 22nd September

Label:  Caroline Distribution

Critical Snapshot:

“V isn’t a huge reinvention, more a subtle reboot, and a move which has worked out perfectly. The Horrors are hardly new to making brilliant albums - they did that with their previous three - but V is better than them all” – The Line of Best Fit

Stream the album here.

Wolf Alice – Visions of a Life

Release Date: 29th September

Label: Dirty Hit

Critical Snapshot:

“Rosewell (Ellie) favors melodies that feel like shouts even when they're whispers. She grapples with a predatory world that steals happiness and loved ones, and creates demands from within and without. Attention wanders during the wizardy fingerpicking of "After the Zero Hour," but production from Beck bassist Justin Meldal-Johnsen ups the focus throughout, even on the seven-minute title track, which slips from Sabbath sludge into surging space rock and back again. This is music that merges raw physical pleasure and dreamscape explorations. The stakes are high, and the payoffs are real” – Rolling Stone

Stream the album here.

Queens of the Stone Age – Villains

Release Date: 25th August

Label: Matador Records

Critical Snapshot:

“Villains, this deep and danceable delight, ends with two searing six minute tracks: the razor-blade blues of the White Stripes-ish The Evil Has Landed, and a sunrise-of-the-ancients pop finalé called Villains Of Circumstance. These are songs that refuse to be crushed, rounding off a disco-rock album determined that the villains won’t win. Bowie’s gone, it says. Trump is here. Move. Now” – Classic Rock

Stream the album here.

FEATURE: Playing the Long Game… This Year’s Most Disappointing Albums

FEATURE:

 

Playing the Long Game…

PHOTO CREDIT: Unsplash

 This Year’s Most Disappointing Albums

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BLOGS and magazines are collating and marking out…

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Unsplash

the albums, songs and artists, they feel, have defined this year. I have seen some surprises and great albums that came out of nowhere; others that have worked their way into my subconscious; some that have hit me straight away – another brilliant year for music, on balance. There have been some records I was expecting big things from, however. When announcements were made – regarding the albums – I prepared myself for something special and impactful. The hard reality is that, when they got here, it was a bit like that computer console-shaped present that turned out to be an air purifier: the energy and happiness fade out and you are left a bit cold (albeit it with some very clear and purified air!). I have been looking at the thirteen albums I felt could have been better; were a little underwhelming – with a critical review that backs up my opinion…

ALBUM COVER CREDITS: Getty Images

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Eminem – Revival

am a huge fan of Eminem’s classics – The Marshall Mathers LP riding highest in the mix in terms of albums – and realise he is one of the most dazzling and essential artists in music. His recent output has not been great so, when Revival was announced, I hoped its contents would live up to its title. Too many collaborations and a lack of real focus; lyrics not up to his genius-like standard and too many songs on the album (among the issues). There are some definite highs but Revival a record that could have done with stricter editing and wiser decisions – and more of the Eminem that struck the collective heart back in his heyday!

Release Date: 15th December

Labels: Interscope; Aftermath; Shady

Critical Snapshot:

“There are just too many pop stars here (Pink, Beyoncé, Kehlani) wailing anodyne hooks over glutinous beats. Perhaps the biggest problem with Revival – as with many latterday Eminem records – is the struggle of an intelligent fortysomething artist to evolve while somehow remaining true to the demands of his sniggery core audience of alienated males, one he knows he shares with Trump. Listening to Eminem trying to square this circle, it’s just one face palm after another” – The Guardian

Standout: Offended

Björk - Utopia

There are few people out there who have as much love for Björk as I do – I even wrote a piece stating Utopia (before it was released) would be the most important-album of this year. It is a gorgeous, mature and great record but one that takes a lot of time to seep in and compel. I was expecting more fire and innovation – some energy that recalled her earliest days – but the overall vibe is one of soothe, love and personal revelation. There are few of the fireworks and odd touches that have defined her legacy and potency. It is an album that, like a butterfly hibernating for winter, will reveal its true nature and colours in the weeks/months to come, perhaps.

Release Date: 24th November

Label: One Little Indian Records

Critical Snapshot:

“Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee. If you can dance to it, you have bendier limbs than I. And it's hard to imagine anyone singing along – perhaps not even Björk herself” – The Daily Telegraph

Standout: Future Forever

Arcade Fire – Everything Now

This was a record I was SURE would be a big hit. I was fooled and excited by some early, pre-release albums that were five-star droolers. I heard the title-track and felt it was business as usual for the Canadian band. When the record was unveiled, and I heard all the songs, it seemed I was premature! Its best moments – Everything Now and Put Your Money on Me – are outweighed by some of the worst material they have recorded to date (Creature Comfort, Signs of Life; Chemistry and Peter Pan among them!). No song hits the heady seduce of Reflektor eponymous cut: nothing gets within spitting-distance of Neon Bible or The Suburbs, for instance. I admire the band for experimenting and adding new substances to the mix but, like Chemistry, it is an experiment that has blown up in their faces.

Release Date: 28th July

Labels: Sono Vox; Columbia

Critical Snapshot:

“It's one of the album's strongest moments, matched by "Electric Blue," in which Regine Chassagne's delicate voice floats over a wistful yet hypnotic electro groove…

Much of the rest struggles to stay buoyant. On "Signs of Life," Butler raps awkwardly about increasingly empty nightlife rituals over syncopated handclaps, a thumping house kick drum and a rubbery Tim Kingsbury bass line. "Chemistry" flirts with horn-peppered dancehall reggae but never quite achieves lift-off. "Good God Damn" splashes around in slow, would-be funk and both versions of "Infinite Content" — one punky and distorted, the other slow and countryish — feel like sketches rather than finished songs. "We Don't Deserve Love" ends the album with a whimper. "Just burn it all down," Butler sings, "and bring the ashes to me" - Chicago Tribune

Standout: Put Your Money on Me

LCD Soundsystem - american dream

Did american dream (the lower-case is how it is stylised by LCD Soundsystem) mark a ‘return’ of LCD Soundsystem or awakening from hibernation?! However you view the relaunch of James Murphy’s outfit; american dream, to be fair, has resounded with critics and, largely, been met with positive reviews. It is, with me, the same case as Björk: I am a fan and loyal supporter but was expecting something a little different. call the police, american dream and emotional haircut display the sharpest wit, instinct and intuition of Murphy and are definite highlights. I found nothing else on the album that hit the same peaks. black screen, the twelve-minutes-plus finale, is not captivating enough to demand focused attention whilst opener oh baby could have been moved down the pack – one would think american dream (the song) would be a perfect introduction?! It is, perhaps, a case of disappointment of expectation rather than quality. Given the seven-year wait since This Is Happening; I was expecting a little more – a bit too much, perhaps. It is a fine album – critics have been vacillating – but, to my tastes, a little shy of what we know LCD Soundsystem can achieve.

Release Date: 1st September

Label: DFA Records; Columbia

Critical Snapshot:

“…Too many tracks, however, suffer from a shortfall of melodic potency, and a lack of lateral development, especially in longer pieces such as the 12-minute sci-fi musings of “Black Screen” and the declamatory nine minutes of “How Do You Sleep?”. Both use puttering beats in cavernous spaces, with synths lowering from above, but for such marathons, there’s too little narrative: it’s all vertical, with sounds simply piled on top rather than providing narrative shape; and often, the journey just isn’t worth the destination”- Independent

Standout: emotional haircut

Gorillaz – Humanz

It has been a while since new Gorillaz music really hooked me in. 2010’s Plastic Beach had some incredible offerings but one needs to go back to 2005’s Demon Days to find a consistent and always-astonishing Gorillaz album. With Damon Albarn as a songwriter and contributor; no Gorillaz album could be deemed poor but, on Humanz, there were few songs that stayed in the memory. Whilst the overall sound and tone of the album elicits response: more songs on the same line as Andromeda would have been welcomed

Release Date: 28th April

Labels: Parlophone; Warner Bros. 

Critical Snapshot:

 “…All the masks and cameos aside, this still feels like a Damon Albarn solo project, a place for him to treat the studio like the welcoming arms of oblivion, and for us to join him” – Pitchfork

Standout: Andromeda

HAIM - Something to Tell You

The L.A.-based trio of sisters impressed critics with their 2013 debut, Days Are Gone. That record has the shine and swoon of Fleetwood Mac (and the same knack with melodies and vocals); it has plenty of sunshine and was one of the highlights of that year. Four years on and the sophomore release contains little of that ebullience and quality. There are some great songs on Something to Tell You – Want You Back is one of their best songs – but there are too many off-kilter noises, aimless melodies and songs that do not absorb into the skin. All this leads to a rather muddled and mixed album.

Release Date: 7th July

Label: Columbia Records

Critical Snapshot:

“Haim pairs ultra-smooth sounds with lyrics about love gone wrong that sound more than a little samey on the title track and "You Never Knew." And while Days Are Gone had hooks for days, this time Haim's songwriting just isn't as attention-getting; production flourishes such as the processed backing vocals on "Ready for You" and "Right Now"'s artfully rough guitars threaten to overpower the songs themselves. Moments like these add to the feeling that Haim are more focused on craft than excitement. The ways they refashioned vintage pop on Days Are Gone felt risky, but Something to Tell You offers safer, smaller pleasures” - AllMusic

Standout: Want You Back

Royal Blood – How Did We Get So Dark?

Among the great Rock and Alternative records of the year (IDLES, with tinges of Punk on Brutalism, have crafted a classic) there have been some underwhelming and damp efforts – I will come to another one soon enough. I have not included U2’s maligned album, Songs of Experience, but it has not been a reliable one for Rock. Royal Blood’s second album came after a three-year wait and did not provide any distinction from their eponymous debut – aside from a few Pop harmonies here and there, perhaps. A duo who are lauded as a touring act, one thinks, would do more to evolve their sound and continue to fascinate and amaze. The fact they replicated their debut – which was not exactly world-class and ground-breaking – means it is a huge missed opportunity from the Brighton twosome. Let’s hope the guys learn a lesson for album number-three!

Release Date: 16th June

Label: Warner Bros. Records

Critical Snapshot:

“In summary, this is an album which is trying to be lots of things for lots of people. The sadness being that where Royal Blood appealed to so many because of its abandoned musicality and aggression, How Did We Get So Dark? may run the risk of losing its soul and beating heart in order to please the masses. It will be interesting to see where Royal Blood go from here” – Drowned in Sound

Standout: Lights Out

Beck - Colors

I am not expecting – like a lot of critics and fans – for Beck to return to the genre-fusing, kaleidoscopic pioneer of Odelay! Many expect artists like Beck to preserve themselves in liquid nitrogen and remain a Peter Pan-like presence. Colors is a natural evolution but one that aims too hard for the mainstream. Produced alongside Greg Kurstin and Cole M.G.N.; there is a lot of trial-and-error and patchy (disorganized) quilt-work. It is a big, shiny record that aims to replicate the energy and excitement (Beck felt) on the road – the songs, however, lack great nuance and memorability. Dear Life, that said, is one of the best songs of the year: sadly; the remainder of the album does not hit the same (giddy) peaks...

Release Date: 13th October

Label: Capitol

Critical Snapshot:

“At times, it seems as though Beck is grasping at something, anything, to add conflict and tension to this rather effusive album. But all he comes up with are the most well-worn of sentimental platitudes, as in the tropical-inflected “No Distraction,” where he vaguely refers to “what we went through” and “everything that I know went wrong.” In giving no concrete shape to genuine obstacles that he feels he’s had to overcome, Beck fails to give his euphoric, outsized sense of liberation much emotional heft” – Slant Magazine

Standout: Dear Life

Foo Fighters – Concrete and Gold

Another Greg Kurstin-produced muddle – the man does know how to helm some brilliant records, mind! - and signs of a band struggling to breathe new life into their music. Concrete and Gold’s uninspired, lazy title is reflected in the music that does not do justice to the potential and talent of the band. For every fired-up bomb like Run there are forgettable cuts like La Dee Da and Sunday Rain. I was hopeful of a sort of return-to-glory from Dave Grohl’s crew but, like 2014’s Sonic Highways, it is an unremarkable album – in a year when we need Rock idols to step up and lead the way.

Release Date: 15th September

Label: Roswell Records

Critical Snapshot:

“…But Grohl’s music has cried out for, well, coloring and shaping for so long that it matter more that he’s finally sculpted an objet d’art, rather than Another Foo Fighters album. More than just about anyone in the genre, he’s free financially and creatively to do anything he wants. Maybe next time he’ll sing something political — In Your Honor was about campaigning for John Kerry, not that you’d know from listening to it. Maybe he’ll even sing something controversial. It’s about time the guy took a risk” – Consequence of Sound

Standout: The Sky Is a Neighborhood

Katy Perry – Witness

Many might scratch their heads and wonder why I’d include a Katy Perry album in a feature that expressed mild disappointment – contrasted against high expectations and hopes! It is less a reflection on my desires but that of the mainstream: one of its strongest and most-inspiring stars should be producing epic, solid work. Perry has crafted exceptional music in the past – 2010’s Teenage Dream had its highlights – but Witness is an album produced by a singer-songwriter at the end of her creative avenue. There are none of the bangers and chart-ready songs that made her such a star. Sure; there is that big production and energy a-plenty but none of the songs remain in the imagination and will add anything new for her loyal fanbase – who might flock the way of Taylor Swift for new guidance and inspiration!

Release Date: 9th June

Label: Capitol

Critical Snapshot:

“For about half of Witness, Perry appears to be striving for meaning at the expense of catchy choruses. On the other half, it is as if she has lost her nerve and been persuaded to sing choruses that have no meaning. Witness is the sound of someone trying to cover too many bases. Perry has probably done enough to keep the box office machine rolling but it might be time for her to shrink her budget and make that little arty offering that really comes from the heart” – The Daily Telegraph

Standout: Swish Swish

The Jesus and Mary Chain - Damage and Joy

Another established band I hoped would bring some magic and quality to 2017 – that failed to materialise in The Jesus and Mary Chain’s Damage and Joy. Those enamoured of the band’s unique charms and dynamics will not balk: their latest record does not stray too far from a familiar path and contains songs many will already be familiar with. Maybe that is where the split comes: anyone (like me) asking the Scottish band to progress and deviate are short-changed; fans will bond with the business-as-normal sounds. There are some pleasant highs from The Jesus and Mary Chain’s 2017-work but I was not motivated to come back to any of the album’s tracks – it all feels a little plodding, predictable and routine.

Release Date: 24th March

Label: Artificial Plastic

Critical Snapshot:

“Also, any Mary Chain follower will be grateful to hear a new batch of downer-pop from the Brothers Reid just as they’ll be relieved at their ability to reconcile (unlike another former Band of Brothers). “War on Peace” features a blazing, arena-ready uptick in percussion and a chorus of “ooooh, ohhhhh”s, and it’s a pleasure to hear the long-missing Ferreira sing “Yeah, it’s just a bitchhhh” on the prettily dour “Black and Blues.” It’s all very nice. But that’s all it is: nice. The Mary Chain never moves beyond that in terms of lyricism or arrangement. The lack of any real verve on Damage and Joy actually makes their I’ll-be-replaced fears on “Amputation” something of a self-fulfilling prophecy” - Paste

Standout: The Two of Us

Morrissey - Low in High School

His latest scandal – there have been so many over the years – surrounding comments made to a German newspaper about reviled figures Kevin Spacey and Harvey Weinstein have seen many raise eyebrows in the direction of Morrissey – wondering if he should keep his opinions to himself! One could forgive a certain carelessness if the music is stunning and on-point, Morrissey’s latest record, Low in High School, does not hit the same strides as Years of Refusal (2009) and Ringleader of the Tormentors (2006). There is, mind, a few choice cuts that remind us of what Moz can do – Spent the Day in Bed, I Wish You Lonely and All the Young People Must Fall in Love are exceptional and hint at what the album could have been. Directionless anger, overly-suffocating snide and a lack of killer tunes (aside from the aforementioned) mean for all the build-up and promise: Low in High School is a misfire that should see Morrissey banished to the ‘naughty step’!

Release Date: 17th November

Label: BMG Rights Management (UK) Limited

Critical Snapshot:

“‘The Girl From Tel Aviv Who Wouldn’t Kneel’ is an unbearable cha-cha-cha; ‘Who Will Protect Us From The Police?’ is lumpen electro; and least listenable track ‘Israel’ sees him deliver political polemic via the dubious medium of a piano ballad. Moz has become pop’s greatest troll in recent years, and here he’s exhaustive in goading you to hit the ‘off’ button. It’s enough to make you put your head in your hands. Or, indeed, your lap” - NME

Standout: Spent the Day in Bed

alt-J - RELAXER

I may be slightly biased when I say I have never really been a fan of the Leeds band: this lack of excitement is based on quality (lacking) rather than expectation. The boys of alt-J have always been synonymous with experimentation, big, sweeping songs and sound unlike anything else out there. Unfortunately, on their third outing, they sound too much like themselves: a group still lacking any solid identity. Despite RELAXER being nominated for a Mercury Music Prize – their second nod – it is a record that has only a couple of great tracks in the batch (Deadcrush and In Cold Blood are worth closer inspection). Maybe their music is reserved for particular tastes and clans but I was genuinely ready to love and absorb the album – I was left a bit deflated and apathetic.

Release Date: 2nd June

Label: Infectious; Atlantic

Critical Snapshot:

“It would have been easy for Alt-J to continue making albums that followed a standard pattern, and in that regard, Relaxer represents ambition and a willingness to take chances. The downside is that it finds the band in a state of confusion, pulled in all directions and sacrificing a sense of cohesion. Alt-J’s first two records were built off of their comparisons, and on Relaxer they work to forge their own identity. They just haven’t figure out what that is yet” – Consequence of Sound

Standout: Deadcrush

FEATURE: The Hollywood Playlist

FEATURE:

ALL PHOTOS: Unsplash

The Hollywood Playlist

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THIS year has been a mixed one…

with regards Hollywood and the film industry. There have been the controversies and scandals; directors, actors and film figures being put under the spotlight. Against the tarnish and dirt has been a busy and productive one for Hollywood. Later this year/next I will write about the link between celluloid and vinyl: the way music is interweaved into film and is an integral part. I have compiled a Hollywood-themed playlist that looks at classic films and directors; L.A. and interpretations of its lure; a few songs from this year’s best film soundtrack, Baby Driver; the glitz of fame and the downsides of the business; songs inspired by various actors (John Wayne gets two nods!). It is a comprehensive soundtrack that should please the most ardent and dedicated…

FILM fan out there. 

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FEATURE: Treasure-Gripping, Guilt-Tripping: The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

FEATURE:

 

Treasure-Gripping, Guilt-Tripping

ALL PHOTOS (unless credited otherwise): Unsplash

The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

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AT this point in the year…

we are inundated, by the music press, with their favourites of the year. I guess I have been culpable, too: all my choice albums, videos and artists have been presented for your delectation. With that, as they collate 2017’s finest, we get a nod to those artists who will make breaks next year – I have made my predictions and written a multi-part feature with the competitors we should be aware of next year. In 2018; I will look at new topics, expand the blog and make a general push towards something multimedia and diversified. Writing is rewarding but the desire to get the site video-capable and more interactive is top of my mind. As I future-ready myself; there is always that curiosity regarding older sounds. I have looked at this before – pieces that examined whether older music is better than new stuff – but, motivated by an idea that was mooted on BBC Radio 6 Music; I have been thinking back and whether, as we are showered with new music and current commendation, our thoughts should consider where music came from. I am always amazed by certain people saying they have discovered a song/artist/album they have not heard before. Even though that person is not mega-young – twenties and thirties – they are connecting with artists many of us are already familiar with.

IN THIS PHOTO: David Bowie/PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

Some people I know have just turned onto Steely Dan, Tears for Fears and Talking Heads – bands from the 1970s and 1980s who have been kicking around a fair bit. It is hard discovering all the music that has come before but there is that pleasure and sense of discovery when we hear a song that is fresh to the ears – but was made years/decades ago. I have been discovering new (to me) stuff by Ramones – albums like Rocket to Russia. I am aware of the band, of course, but it is only this year I have been stepping back and investigating their rich catalogue of work. The same is true of David Bowie. I am a fan but there are albums of his – his less-well-known – that have struck the ear and given me a new appreciation! Of course; it is not only albums from established artists I have been finding: I have found artists others have been raving about for years that were foreign to my ears! Talk Talk and Can are two acts I had not really known about prior to this year. Naturally, I was aware of their name and legacy and, whilst they are very different in terms of music and legacy; it has been revelatory finding these musicians! I guess, unless you regularly listen to a station that plays a blend of new and old, you are likely to discover well-known artists after everyone else.

IN THIS PHOTO: Talk Talk/PHOTO CREDIT: Getty Images

Alongside these bands; I have latched onto some great female artists from the 1980s; brilliant 1990s Dance – I thought I had the decade covered! – and pioneering Rock ‘n’ Roll from the 1950s. I like to consider myself pretty cultured and thorough so it has been a surprise finding artists that have escaped my gaze all these years. It is not unusual but, as I said, the sensation of finding that artist – looking back at all their work and ‘catching up’, as it were – is fantastic. Many others are in the same position but I wonder whether, instead of stumbling on music so long after the fact, there is something inherently disconnected in the radio/streaming networks. I understand why, in the case of the BBC, there have to be different-numbered radio stations? They have an option that plays mostly mainstream music for younger listeners (Radio 1); mostly older sounds mixed with chart sounds (Radio 2); Classical recordings on Radio 3 whereas BBC Radio 6 Music provides that new and old – none of the naff chart songs and drivel other stations salivate over. I always listen to the latter but wondered whether there are artists being played on BBC Radio 2 worth seeking out – that might not make it to my preferred option. I have mooted the possibility of, in some way, integrating the stations so the average listener gets a little bit of everything. I like Classical and Jazz but do not want to hear it a lot – the same can be said of modern chart songs.

That is not to say I’d prefer to be without them: a little of each of a day would be welcomed, for sure. I can understand the logistic nightmares – if one did create a new station – and it would be hard appealing to all ages and tastes but, as so many people are finding music years after release, I wonder if that signifies an issue. Is it better to not know about everything and make that chance discovery in 2017?! I always get annoyed when I miss out/have missed out on an artist but I appreciate those who like the mysteries and ever-giving nature of music. It is exciting having the mind opened to a band/artist that were once unborn – a new obsession or a song that nestles its way into the brain. Streaming, as I have suggested in other posts, is all about the here and now. Whilst sites like Spotify open its doors to music’s capacious cannon: one feels there is too much of an obsession with numbers, business and modern-made sounds. You go to the site and it is all about the latest big name and coolest tunes. 

PHOTO CREDIT: Getty Images

Like YouTube/SoundCloud; there are no detailed menus that break down music by genre, year…providing detailed schematics and algorithms. It is one of the frustrations and, when more and more want to connect with past sounds – why are there are no slick and easy mechanisms in place to find the gold of old?! It is interesting but, I guess, if one is given too much it robs that joy of happenstance and dumb luck! I wanted to talk about ‘the guilty pleasure’ as, to my mind, there is no such beast. I hear the term bandied about and it has been part of the musical lexicon since the first popular recordings. I have a soft-spot for those 1980s songs with big choruses, huge production…and titanic hair! I confess there are some dodgy songs from the decade that deserve nothing but scorn and derision. Tracks like Owner of a Lonely Heart (Yes) and You’re the Voice (John Farnham) are mid tracks from the early/mid-1980s and have survived the test of time. Even if you were not around then those songs first came out – I was, sad to say – they have a timelessness that means the mood is lifted and the voice compelled – songs you keep in the back pocket when you need a pick-me-up. I am a bit stuffy about the modern Pop charts but there are a few songs, now and then, I feel are worth time and energy. It can be embarrassing for someone expressing their tastes and likes and getting that sort of negative reaction. Music is a subjective thing and, whilst there is plenty of bad music, there is nothing that should be hidden and listened in secrecy.

IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Getty Images

Maybe you like Kylie Minogue or Jazz; others might say it is a guilty pleasure – that does not mean you should stop listening to that music. A lot of that reaction comes from the critical opinion: if they think an artist/style of music is a bit tragic, that impacts negatively on others. You get D.J.s putting on special nights for ‘cheesy music’ – we all know the type of songs that would fall into that category – and that doesn’t really help. I have mentioned a couple of songs (from the 1980s) that could feature in those sets when, in reality, they are solid and impressive songs. There is nothing bad and wrong with those songs at all – and no reason they should be confined to cheese-only sets. I mentioned how music is subjective but how much personal exploration is being stunted by negative branding and this term ‘guilty pleasure’? I am a big fan of Beyoncé and, since her days leading Destiny’s Child, have been in awe of her creativity, reinvention and talent. Many, who know I listen to her, have turned their noses up. She is, to many, overly-commercial and processed; someone whose music appeals to a niche demographic. If this were true – which it isn’t – we shouldn’t judge other people’s tastes and think any sound is reserved for guilt and embarrassment.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

Music is a broad church and, in the same way we should integrate stations and create a more visible market; we need to get out of the habit of branding certain types of music as uncool. Quality is a different objective and there are songs that are distinctly rotten – you should still be proud to listen to them but some will not share the same enthusiasm! Whether you love a good bit of 1980s Pop, some experimental Jazz or modern-day, British Hip-Hop – get involved and play it loud! I am getting less picky about my music tastes and, doing what I do, I have to have an open mind and accepting ethos. I will refuse some artists because their music is not to my tastes and preferences. That being said; I would never alienate any music and say people should be ashamed to like it. Music is a spectrum and community where differences are welcomed. If we all liked the same music then it will be a very boring and pointless scene. I like those songs that others snobbishly push away: I feel I hear something others don’t and have a finer sense of taste. I am searching my mind and wondering if there is anything that can be deemed a ‘guilty pleasure’. Even if you think something is a bit uncool – I am not partial to Taylor Swift or Cliff Richard, for instance – I would not judge others and say they have poor taste in music.

2018 is going to be about change and acceptance: altering bad practice and ensuring there is greater awareness of any problems that arise. That SHOULD be what happens but, until we get the ball rolling, there is no telling whether it will be better than this year. I am always campaigning streaming sites to make older music more visible and accessible to those who use the site – rather than promoting whatever is new and hip. I asked whether stumbling on an old album/song/artist was part of a frustrating compartmentalisation in the music industry or whether it was an inevitable result of the industry. It is getting fuller by the year and it can be hard nailing it all done and sorting it out. Having heard various people talk about the joy of finding an artist – that many of us already know about – and getting that surprise is good to hear. Maybe it is best not knowing/hearing everything and relying on the odd surprise here and there. It would be good to see stronger connections between the present and past; getting music from older artists put into the modern-day ears. As I have said; music is not a guilty pleasure that should be hidden and judged – everything has a purpose, worth and its place. Realising that, and keeping that truth to the chest as we head into a new year…

WILL make us all a bit richer.

FEATURE: If at First You Succeed… Incredible Debut Albums from 2017

FEATURE:

 

If at First You Succeed…

PHOTO CREDIT: Unsplash

Incredible Debut Albums from 2017

________

SOME artists can take an entire career…

IN THIS PHOTO: Loyle Carner/PHOTO CREDIT: Getty Images

to produce an album that gets critics humming and listeners flocking! If one considers all the best and most durable artists from music: how many of them cemented something terrific the first time out?! Even titans like Radiohead and The Beatles (random names, I know!) didn’t hit their peak until a few albums in – later, in the case of The Beatles! It is hard putting out the debut album because it is the first offering and you are never sure what the public will think – and whether it will resound with the critics. Those who manage to create a great and solid debut album have a lot of pressure taken off...and get straight into the collective bosom.

2017 has seen some terrific introductory L.P.s from artists we will hear a lot more of through next year (and beyond)! These are the ten debut albums that have helped make 2017 a stunning and eclectic year for music…

ALBUM COVER CREDITS: Getty Images

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Sundara Karma - Youth Is Only Ever Fun in Retrospect

Release Date: 6th January

Label: RCA Records

Critical Snapshot:

“Youth is Only Ever Fun in Retrospect doesn't quite match The 1975's I Like It When You Sleep For You Are So Beautiful, Yet So Unaware Of It in terms of ridiculously long album titles, but the Reading four-piece have taken a good shot at matching it in terms of hooks. Dubbed a 'band in waiting' by various outlets, Sundara Karma have filled their debut to the brim with hit after hit; it's hard to know where to begin” – The Line of Best Fit

Stream the album here.

The Big Moon - Love in the 4th Dimension

Release Date: 7th April

Label: Columbia Records

Critical Snapshot:

“The smouldering heart of ‘Love In the 4th Dimension’ arrives in the orange-licked shape of ‘Bonfire’; an almighty flame-singed anthem obsessed pursuing the secrets to fire-starting to escape boredom. “Show me how your fingers got in all those pies, I’ll never go away,” urges Jules, presumably hammering down the doors to The 4th Dimension and letting loose wolf-like howls. On all the evidence here, The Big Moon have succeeded in unearthing the secret to a fire debut” - DIY

Stream the album here.

Sampha – Process

Release Date: 3rd February

Label: Young Turks

Critical Snapshot:

“Nothing feels in thrall to current trends in R&B, either sonically or emotionally: Sisay may have been a constant, quiet presence on other people’s records last year, but Process doesn’t sound much like any of them. Instead, it’s a weighty, powerful album with an identity entirely of its own. And while clearly not constructed with commercial ambition at the forefront of its mind, it’s certainly good enough to make an unlikely star of the man behind it” – The Guardian

Stream the album here.

The Moonlandingz - Interplanetary Class Classics

Release Date: 24th March

Label: Chimera Records

Critical Snapshot:

“The most immediate moments might come when Saoudi – sorry, Johnny Rocket – unleashes his ghoulish Nick Cave impression, but there’s variety here, too. Downbeat moody duet ‘The Strangle Of Anna’ is ostensibly The Velvet Underground’s ‘I’ll Be Your Mirror’ given a contemporary spin It ends with the unlikely pairing of The Human League’s Phil Oakey and Yoko Ono howling on a cosmic six-minute electronic-prog wig-out ‘The Cities Undone’. You couldn’t make it up. Accept, well, The Moonlandingz just have” – NME

Stream the album here.

Stormzy – Gang Signs & Prayer

Release Date: 24th February

Label: #Merky Records

Critical Snapshot:

“Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top” – Independent

Stream the album here.

SZA – Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

Critical Snapshot:

“People will go to extremes to absolve themselves of judgment, whether it’s for liking something as benign as “The Bachelor” or by mining the depths of psychology to determine that breaking someone’s heart was somehow just an act of radical self-care. SZA has the grit to say that it doesn’t just feel shitty, it is shitty. She is in touch with love’s fragilities and understands that it is worth protecting, there is just a lot of tireless work to get it. The record is all the more beautiful for it” - Pitchfork

Stream the album here.

IDLES – Brutalism

Release Date: 10th March

Label: Balley Records

Critical Snapshot:

“Meanwhile, the band are impossibly tight, offering an onslaught that pitches itself somewhere alongside the sensory overload of Girl Band or Hookworms. From its loping beat upwards, few songs in recent memory have encapsulated smalltown boredom as perfectly bluntly as ‘Exeter’, one of the album’s rare pauses for breath. Otherwise, the rough edges and lack of nuance here are entirely the point. The government may be eager to get rid of the architecture that gives the album its name, but Idles have offered a ‘Brutalism’ that demolishes back” – Loud and Quiet

Stream the album here.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Labels: Fantasy; Caroline

Critical Snapshot:

“Music has both the ability to reflect and transform the times,” stated Morello in early press about their new album. It's clear that in a time where it's more important than ever for people to have a voice, the band has solidified what theirs is and are ready to rally for what they believe, all against the backdrop of some at times aggressive and at times funky sounds. Time will tell if they're able to "transform the times," but Prophets of Rage are doing their best to rage against the machine for as long as it takes” – Loudwire

Stream the album here.

Nick Hakim - Green Twins

Release Date: 19th May

Label: ATO Records

Critical Snapshot:

“Most of the songs evoke some combination of obsession, rapture, gratitude, and anguish. The whirling title track, spaced-out "Bet She Looks Like You," and easy rolling "Cuffed," all exemplary, indicate the profound effect of a committed relationship. The impact is conveyed in open-hearted lines like "I admit -- inside me lives fear," "If there's a god, I wonder what she looks like/I bet she looks like you," and "She taught me to make love with patience." The album's potent mix of soul-searching lyrics and spaced-out sonics lends itself to deep thought and accompanied stargazing” – Allmusic

Stream the album here.

Loyle Carner – Yesterday’s Gone

Release Date: 20th January

Label: EMI

Critical Snapshot:

“Mostly though, this is an album which celebrates the love of family – there’s an incredibly touching bit in Sun Of Jean where Carner’s mother appears again reciting a poem she’s written about her son, and the pride in her voice is palpable. As should be the case: yesterday may be gone, but the future of UK hip-hop belongs to this man” - musicOMH

Stream the album here.

FEATURE: That’s My Kind of Scene: The Best Music Videos of 2017

FEATURE:

 

That’s My Kind of Scene

PHOTO CREDIT: Unsplash

The Best Music Videos of 2017

________

EVERY year brings videos that stand out…

PHOTO CREDIT: Unsplash

and add light, life and longevity to a song that, otherwise, would have faded from the mind. It is interesting how a brilliant concept and fantastic look can change the nature of a track and add so much to it. I guess that is what a music video is supposed to do but...when one considers the volume of options out there...is it easy to separate the genuinely brilliant videos from those that are merely promising (or the sheer naff)?!

I have been looking through videos from this year, across a range of genres and artists, and highlighted those worth another look…

________

PHOTO CREDIT: Mary Ellen Matthews/CPi Syndication

Lorde – Green Light

Director: Grant Singer

Release Date: 2nd March

YouTube Views (at the time of this feature): 99,982,078

PHOTO CREDIT: Getty Images

Beck - Up All Night

Director: Canada

Release Date: 6th September

YouTube Views (at the time of this feature): 3,427,212

PHOTO CREDIT: Getty Images

Avalon Emerson – One More Fluorescent Rush

Director: Hayden Martin

Release Date: 25th October

YouTube Views (at the time of this feature): 50,192

PHOTO CREDIT: Getty Images

Camila Cabello (ft. Young Thug) - Havana

Director: Dave Meyers

Release Date: 24th August

YouTube Views (at the time of this feature): 382,863,102

PHOTO CREDIT: Getty Images

Chromatics - Shadow

Directors: Rene & Radka

Release Date: 21st May

YouTube Views (at the time of this feature): 3,292,779

PHOTO CREDIT: Getty Images

Jonathan Bree - You're So Cool

Director: Jonathan Bree

Release Date: 28th August

YouTube Views (at the time of this feature): 1,671,404

PHOTO CREDIT: LeAnn Mueller (for Rolling Stone)

St. Vincent - New York

Director: Alex Da Corte

Release Date: 31st August

YouTube Views (at the time of this feature): 1,717,555

PHOTO CREDIT: Getty Images

Dua Lipa - New Rules

Director: Henry Scholfield

Release Date: 7th July

YouTube Views (at the time of this feature): 825,293,348

PHOTO CREDIT: Getty Images

JAY-Z - The Story of O.J.

Directors: Mark Romanek & JAY-Z

Release Date: 5th July

YouTube Views (at the time of this feature): 54,076,968

PHOTO CREDIT: Getty Images

Princess Nokia – Flava

Directors: Destiny Frasqueri and Milah Libin

Release Date: 8th September

YouTube Views (at the time of this feature): 588,104

PHOTO CREDIT: Rankin

Liam Gallagher – Wall of Glass

Director: Francois Rousselet

Release Date: 31st May

YouTube Views (at the time of this feature): 9,263,748

PHOTO CREDIT: Getty Images

Kamasi Washington - Truth

Director: AG Rojas

Release Date: 12th April

YouTube Views (at the time of this feature): 757,709

PHOTO CREDIT: Getty Images

Charli XCX – Boys

Directors: Charli XCX (with additional direction from Sarah McColgan)

Release Date: 26th July

YouTube Views (at the time of this feature): 66,191,974

PHOTO CREDIT: Getty Images

Perfume Genius - Slip Away

Director: Andrew Thomas Huang

Release Date: 21st April, 2017

YouTube Views (at the time of this feature): 237,784

PHOTO CREDIT: SSENSE

SZA – Drew Barrymore

Director: Dave Meyers

Release Date: 20th June

YouTube Views (at the time of this feature): 5,845,492

PHOTO CREDIT: Getty Images

Björk - The Gate

Director: Andrew Thomas Huang

Release Date: 20th September

YouTube Views (at the time of this feature): 1,460,829

PHOTO CREDIT: Getty Images

Kendrick Lamar - HUMBLE.

Directors: Dave Meyers and the little homies

Release Date: 30th March

YouTube Views (at the time of this feature): 405,640,974

PHOTO CREDIT: Getty Images

Radiohead - Lift

Director: Oscar Hudson

Release Date: 12th September

YouTube Views (at the time of this feature): 6,992,742

PHOTO CREDIT: Getty Images

HAIM - Want You Back

Director: Jake Schreier

Release Date: 22nd June

YouTube Views (at the time of this feature): 10,395,231

FEATURE: Let There Be Love: Why Music Needs to Look to the Past to Move Forward

FEATURE:

 

Let There Be Love:

PHOTO CREDIT: Unsplash

Why Music Needs to Look to the Past to Move Forward

________

AS I type this…

IN THIS PHOTO: A still from A Hard Day's Night/PHOTO CREDIT: Getty Images

I am watching The Beatles in A Hard Day’s Night. It is a festive favourite that shows what a majestic force The Beatles were – their best film and one of the finest moments on film. There is an innocence and endless charm that makes you smile. The script and concept are great; the acting is brilliant and the songs, of course, are faultless. The entire film – shot in black-and-white- takes you back to a time when there was more optimism and love in the air. I could have called the feature All You Need Is Love – in honour of The Fab Four – but I thought that would be a bit too much! I am not going to claim the 1960s were innocent and free from any problems: they had blights, political chaos and crisis. Whilst the world has not moved on in many ways – the corrupt politics and fear hanging in the air – I feel there have been lacking progressive steps. I look at bands like The Beatles and the 1960s. I was not alive then but know people who were; the sense things were better, in the music industry at least, always come through. Could we ever have a modern-day Summer of Love, in our society, that promoted freedom, liberation and togetherness?! It seems almost inconceivable but, after the last few years we have had, there is that desire to create a unity and peace.

IN THIS PHOTO: Unsplash

I have written about this a few times throughout the year – but I feel things have not really changed. Away from the scandal and disease that has plagued the film industry this year – the allegations against figures like Kevin Spacey – there are questions in music that need to be raised and tackled. Specifically, I am thinking about sexism and racial imbalance. With every month we go through; that problem keeps coming up. The disparity is there and, although there are small developments, there is a gulf that does not need to exist. We hear about more women coming into the studio and finding opportunities. The studio has always been seen as a boys club and somewhere few women find acceptance and a natural. More are coming into the studio and reversing trends – although there is a long way to go. The same can be said for the charts and the artists getting number-one songs. Earlier this year; Dua Lipa because the first female artist since Adele to get to the top of the charts (with her sing, New Rules). The irony of the song’s title suggested a fresh order was coming in: the need to get rid of the discrimination and division we find is paramount.

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

I was pleased when she got to number-one and, whether you like her music or not (I am not a fan); it was a landmark and important step through. The fact that was the first number-one by a British female artist in a couple of years was a shock. Is it the case people are going after male-created music and ignoring and female alternative? Is the scene primed towards promoting the men and providing less attention to women? One cannot look at stats – like the Dua Lipa case – and assume there is no issue and everything is fair-minded and even. That is clearly not the case and whether there is deliberate sexism or not; it is baffling and peculiar it would take THAT long for a female artist to climb to the summit of the charts. Look at festivals and big music events and I hear voices that highlight the lack of women on the bill. The headline spots are given to men and there is an embedded ignorance and predictability that goes after commercial, male artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists.

PHOTO CREDIT: Unsplash

One of the best things I heard this year (in music) was the number of black artists who were nominated for Grammys. Hip-Hop is getting the respect it deserved, and with it, artists like Kendrick Lamar and SZA have been included. Problems surrounding race will not disappear in 2018 but the time has come for the music industry to have a good look inside itself and ask why there is a distinct imbalance. Words and meaningless if they are not backed by action. Many industry figures say they will make changes and promote minority artists but how much are we going to believe?! It is not a case of making exceptions and pandering: changing the way artists/genres are promoted and, like women in festival slots; make more available for the finest minority artists around. If the white man continues to promote white men; it will send out the message everyone else is excluded. I have seen some fantastic, world-class music made by black and female artists, new and existing, that deserves festival coverage in 2018. I wonder whether that is a reality or whether, like years past, the commercial white artists are going to steal all the limelight. I know there are other concerns away from race and sex but these are the most visible and troubling. Venues are closing and the fabric of music is weaker and less sure than it has been in a while.

PHOTO CREDIT: Unsplash

The government are not willing or prepared to make decisive changes and take action to benefit the industry. It is down to those in charge within the industry to ensure there are positive step forwards and preservative measures put in place. I am troubled by the continuing sexism and racial bias; the way commercial sounds are muscling out others. Returning to a 1960s, free-love style of thinking would be horribly naïve and idealistic considering the way the planet has changed in the ensuing five decades. It is not only music issues that we are finding. The political crap and growing global-warming crisis mean now, in an age defined by technological advancement, human beings are retreating back into the mud. It will take small steps and a lot of internal administration but I feel a declaration and desire to make changes can go a long way. So much negativity is flying around it can be hard finding any light and hope among all that. I can hardly judge myself – without making changes and being active myself – but I am looking at the music industry and finding too much discrimination and issue. The fact the film industry has been tarnished by a select few male figures means many are wondering how far the problem extends – and how many other people will be accused in the New Year.

PHOTO CREDIT: Unsplash

Music is not immune and already has enough burden without falling down the same slippery slope. Of course; this year has seen a lot of good and love but not enough for my liking. Although the 1960s had more than its fair share of problems – racism and sexism was pretty prolific and unabashed – but there are aspects that we have lost in the ensuing decades. There are other problems that have been covered in various articles. One, seen here looks at live music and how hard it is for touring musicians to sustain a career – whilst keeping up their day-job:

“Ask just about anyone how musicians make their money these days, and they will say, "live music." In fact, ask anyone who never pays for recorded music how they support the musicians they love, and they'll say, "I go to their shows."

Now, that's all well and good. And, it's true—live music is where it's at these days financially for musicians. However, there's one major disconnect—playing live costs musicians money. A lot of money. Yes, even more than that. Sure, going down to play your local venue for the 80th time is a piece of cake financially, but that a music career does not make. To really build an audience, a band has to go out on the road”.

 PHOTO CREDIT: Getty Images

There are some brilliant articles that break down the various issues in the music scene – from streaming and record labels to albums and royalties. Ranging from small to immense; there is a long list of considerations that need to be discussed in 2018. I have, several times this year, how we have not really developed and ways we can improve. It is going to be impossible to stamp out every slight but I wonder whether, as I have proffered in a previous post, someone should be assigned to take a governmental approach to music. It is clear there are lots of easy-to-solve things that can be solved: the bigger, music-wide problems definitely need action and exposure in 2018. There has been so much good and productivity; some real strides and world-class music and I know that will continue. A pragmatic, proactive and positive approach needs to come out next year. Not only do the divisions need sorting and list of faults need proper scrutiny: a much more balanced, welcoming and inclusive industry needs to make its voice know. It is what musicians want but, as music becomes more business-minded, I wonder whether suits and money-grabbing men are thinking more about their wallets – less about the artists and creating a balanced and less problematic industry. If we continue to ignore the visible and worrying cracks in the pavement; it is going to get worse and get to a point where it will be impossible to fix. Love might not be all we need but it is…

PHOTO CREDIT: Unsplash

A pretty good place to start.

FEATURE: The Future Is Now: Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

FEATURE:

 

The Future Is Now:

PHOTO CREDIT: Unsplash

Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

________

I was reading an article…

IN THIS PHOTO: Magic Leap One's Lightpack, Lightwear and Controller/PHOTO CREDIT: Magic Leap

on Pitchfork that highlighted a new technology that is getting people excited. A billion-dollar company, Magic Leap, is looking to replace Alexa and Siri in the new wave of virtual-reality interactivity. This would allow people to interact and experience music in a new way. The company has already raised $2 billion and has backing from the likes of Google. The glasses/goggles project virtual objects that are just like real-life scenes/images. It is not a reality at the moment – merely a prototype – and has yet to get past the stage of testing and conception. It does, however, raise questions on both sides of the argument. Is it going to be the way music is heading? Is this how people will listen to music in years to come? The article highlights what the scene involves:

“Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child…Silicon Valley’s big players are currently betting heavily on glasses that could replace Siri or Alexa with a digital assistant that looks and sounds as present as another person in the room.

PHOTO CREDIT: Magic Leap/Getty Images

Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child”.

There are issues with any form of augmented/virtual-reality. We all know the infamous Google Glass and how well that did! It was launched as a hugely innovative and revolutionary concept by the bods at Google but ended up being an expensive and over-hyped experiment. I am not sure whether anyone benefited from the product – or what it actually did – but there have been technologies launched that look to replace human contact and traditional modes of interaction with machinery. There are watches that are an all-in-one Smartphone/watch etc. and, every year, inventors and progressive thinkers are pushing the boundaries and limitations of what is possible. That is exciting but I wonder whether, like Google Glass, there are too many flaws! The fact I posed no question in the header suggests I am more positive regarding Magic Leap and what they can produce. Even if the glasses are flawless in their execution and promise; they cannot block out everything around them. Actual reality seeps in at the sides and you cannot realistic wrap the glasses around the head so you erase any light and outside world.

PHOTO CREDIT: Unsplash

There are, as writer Marc Hogan proffered, some other problems:

“There are a few widely documented problems with augmented reality devices in general. They look silly. They have a narrow field of vision, so while what you see through the goggles looks amazing, you can still see unmixed reality in your peripheral vision. And they require so much energy that, for the foreseeable future, they’ll need to be connected to a battery pack. Once, after I try to grab a tónandi while using the app, I briefly see an error message. It tells me that the tónandi will interact with you, but you can’t control them. There’s something humbling about this. It’s almost a sacred ceremony, in secular form. Or a strangely vivid hallucination. If nothing else, it’s surreal”.

If we rely on technology to interact and experience life around us then are we encouraging the disintegration of human contact?! Is it healthy and wise leaning on machines and the un-physical in order to see more of the world?! It sounds counterintuitive to take this approach but I guess this is the way technology is advancing. Music is becoming less physical and more of our music is being streamed and bought digitally. It is only natural a technology firm would pitch something that immerses the listener into music using machinery – a gadget that provides depth and dynamics the naked eye cannot perceive. It is almost like the electric car in many ways. It has taken years for a viable and workable model to come onto the market.

PHOTO CREDIT: Unsplash

There are drawbacks to the electric car – having to recharge frequently; charging stations not overly-common and available; how costly and inconvenient it might be – but it is coming to a point where there is no real option. Global-warming means fossil fuels are doing more damage than we can imagine. It might be the only way we can have vehicles without the consequences being dire and planet-destroying. The electric car is still not completely there yet but it is a lot more advanced and realistic than years ago. The same cannot be said of music-related virtual-reality. The motives are different but the issues, one feels, are similar. One would need a battery-pack when using the new goggles. There is no suggested price for these goggles so you can only imagine how pricey they would be. This will be straightened out and, as with many of these ambitious projects, the price comes down eventually. It is a case of gauging the market and seeing what the demand is; modulating and redefining pricing so that the company makes a healthy profit without alienating the market – there is always going to be greed but, if the consumer cannot afford it, that would be a very costly and embarrassing failure. Hopefully, lessons have been learned from the fellow mixed-reality projects of old and how they have fared.

PHOTO CREDIT: Unsplash

Looking at an article by Business Insider; they look at the other possibilities with regards the Magic Leap project:

“As the Magic Leap website says, the headset merges, "environment mapping, precision tracking and soundfield audio." What that means in practice is whatever you see in the world through the glasses can be interacted with.

In the example above (from Magic Leap), a user has our solar system projected in the world in front of them. The glasses have sensors and cameras that see the user's hands interacting with the projection.

It's not actually clear if the Lightwear headset can track hands, but this example certainly gives that impression”.

One would be able to watch a basketball game with others in a living-room – the game would project life-like scenes in front of them. Not only would it be a new way of perceiving T.V., film and the arts: it would open up science, art and technology; help make it more appealing and engaging. There are sketchy details regarding the full capabilities but, when it comes to music, I am quite excited. It is early days regarding pricing, logistics and practicality: when it comes to the capabilities and possibilities; it will help take music to new audiences. Returning to the Pitchfork article – as I will finish up – and the journalist was able to hear various drum sounds and notes in surroundings.

Various parts of the image gave off different sounds – music coming to life in a much more evocative and tangible way. I would fear for the industry if this was trying to erase traditional formats and hardware. Streaming services are not trying to replace vinyl and C.D. but there is a sense things are going more in a digital direction. I have been worried about the dependence on streaming sites but know, with regards vinyl sale, there is evidence people are not willing to abandon traditional and purity. The launch of a virtual-reality will supplement what is already out there and help bring videos, scenes and songs to parts of the brain that are not usually stimulated. If it is something as simple as taking an existing video and making it larger, clearer and more cinematic; that is something to get excited about. My doubts remain but there are ways we can help various people connect with music in new ways. If a person is deaf and, therefore, they cannot engage with music in ways most of us can – can the visual components and ways Magic Leap are proposing help them enjoy music in ways as yet undiscovered?! Others, with dementia and memory problems, may be able to have parts of their brain stimulated that stores memories. Children are always reluctant to sit down and patiently listen to music but, if there was a more film-like, robotic way of connecting with music – that has to be a good thing, surely?!

Rolling Stone were afforded a unique experience and meeting with those behind the project. They spoke with Magic Leap founder (the company was founded in 2011), Rory Abovitz, who (first) talked about a special musical benefit of the virtual-reality glasses:

“…Finally, I went to a separate room to see an experience that I can talk about in full detail. Iceland experimental rock band Sigur Ros has been quietly working with some folks at Magic Leap to create an experience that they like to call a soundscape. For this particular demo, the team had me put on earbuds plugged into the goggles. “What you are about to see is a project called Tonandi,” Mike Tucker, technical lead on the project, tells me. “What you’re going to see is not a recorded piece of music but an interactive soundscape. That’s how they like to describe it.”

Those worried the new technology would be cumbersome and unwieldy have little to be worried about when it comes to possible strain and physical stress:

“The Lightwear and Lightpack are almost toy-like in their design, not because they feel cheap – they don’t – but because they’re so light and there seems to be so little to them. (Ronni) Abovitz, though, is quick to point out just how much is packed into that small space. “This is a self-contained computer,” he says. “Think about something close to like a MacBook Pro or an Alienware PC. It's got a powerful CPU and GPU. It's got a drive, WiFi, all kinds of electronics, so it's like a computer folded up onto itself...”

PHOTO CREDIT: Magic Leap/Getty Images

“One of the fundamental problems that Abovitz and his team at Magic Leap were hoping to solve was the discomfort that some experience while using virtual reality headsets and nearly everyone finds in the prolonged use of screens of any type. “So our goal is to ultimately build spatial computing into something that a lot of people in the world can use all day every day all the time everywhere,” Abovtiz tells me. “That’s the ambitious goal; it'll take time to get there. But part of all day is that you need something that is light and comfortable. It has to fit you like socks and shoes have to fit you. It has to be really well tuned for your face, well tuned for your body. And I think a fundamental part of all day is the signal has to be very compatible with you.”

I have seen videos and interviews where Magic Leap is explained and to what extent it can change the world around us. In a way; it is bringing the world into closer focus and allowing us to see things we have previously not been able to. Before I conclude with my hopes – and why it will be good for music – that Pitchfork piece posed concerns regarding privacy and personal security:

PHOTO CREDIT: Unsplash

“Aside from questions about whether technology like Magic Leap’s really will catch on as the tech industry predicts, the coming of mixed reality would bring other concerns. If the internet is always there, then it’s always watching us. The corporate behemoths that currently treat user data like it’s the new oil—not to mention governments—would know much more when they could apply facial recognition software to each face we see, record details from our real-world conversations, monitor our eye gestures. For now, though, the existence of an app like Tónandi points a potential way forward for artists under siege from the Muzak economics of streaming an opportunity to survive in that incipient world. And, perhaps, a forum to speak out about it too”.

There are always going to be problems and teething concerns but, if they can be smoothed in the coming weeks; there will be fewer risks and downsides compared to, say, Google Glass. The company was founded six years ago so one would imagine they have been working on the nuts-and-bolts of the design. Worries about security, weight and price will be explained but there are many in the music world that are getting excited. I feel it will be beneficial to musicians and listeners alike. For those disadvantaged and ill – who would be prohibited from hearing and experiencing music in a conventional manner – have the chance to see (literally) it in a new way. Music videos are great but I have always hankered after a way of connecting film/visuals and music in a modern impactful and magical way. Magic Leap might be that solution that means we can unearth more and create new genres; find ways of helping new musicians get their music to people; change music videos and help bring issues like sexism, racism and inequality to life – fighting them in a very bold and unforgettable way. We cannot judge the concept before it is fully rolled-out and realised. I am optimistic – always a fatal sign! – but there are signs to suggest something…

PHOTO CREDIT: Unsplash

WONDERFUL is on its way.

FEATURE: The Gift of Music: Dropping the Needle and Raising the Bar

FEATURE:

 

The Gift of Music:

ALL PHOTOS (unless credited otherwise): Unsplash

Dropping the Needle and Raising the Bar

________

THIS is the day where many of us…

are digging into gifts and sharing our memories online. Today, we will see (and have) happiness and good wishes pouring through social media. Whilst some have accused Christmas of being too commercial – there are only two days of the year when one gets presents so I embrace this element of Christmas – whereas others prefer the family time and togetherness. There is no wrong answer – the day means something different to everyone - but, as we check out our gifts and dive into the spirit of the day; I wonder whether lessons and education, in addition to presents, is what we should be passing to children. My point does not only apply to the young: music is for everyone and is a timeless, ageless gift. I do not necessarily mean a physical possession: passing down tastes and artists offspring is as precious and meaningful as a physical thing. We think about family this time of year and, as the tree is crammed with presents; there is excitement and happiness around the house. No matter what your age; there is that thrill of receiving and giving presents to loved ones. Whether you think it is a commercial day that lacks religious spirit or preserves Christian traditions – music is an integral part of Christmas. We have all been flooded with Christmas music, old and new, and had those tunes bouncing around the head. It is a day to be in the present (no pun intended!) but, also, reflect on the past. I have been casting my mind back to childhood and the best days.

IMAGE CREDIT: Freepix

One of the reasons I got into music at a young age was because of the exposure and opportunities I had in the 1980s and 1990s. I was fed the finest music ever in the childhood household and afforded access to vinyl, cassettes and C.D.s. I was given music-related gifts and, blended with that, a constant stream of eclectic sounds. I am not sure which is most instrumental to me (again; not trying to pun!) but I feel both of them played a part. I am not casting myself in the guise of a personal shopper but I feel few of us, young or older, are being provided the literal gift of music. One of the best ways to instil a passion for music in a child is to play it around the house. Many parents do that but I wonder whether the selections are broad and how committed they are. I was lucky enough to spend my early life in a household that was constantly humming with great sounds. It is because of that, and the music I was buying, that led me to pursue music as a career – and spend my time fostering the best new artists around. Soon enough; myriad music stuck in the brain and that began a life-long pursuit; an endless passion for the art. I wonder whether children/those interested in music are being given a good start.

I confess, for children, toys and the latest must-have gifts are great: that is what Christmas is all about, surely?! This day will fade and we will be back into the normal, day-to-day routine. Not only is music a great way of fostering interesting and forging musicians of the future; it has huge substance and meaning. I remember the first items of music I was given as a child. A red boom-box (or tape-recorder, as we’d call) had a dual-cassette feature (that was very advanced in the early-1990s) and I would use that to soundtrack races around the block – on the back of a go-kart my grandfather built as a present. The likes of T.Rex and Glen Miller (I had a broad taste!) would blast out of the speakers and create limitless joy. Not only did that humble gift provide an outlet for the music I loved: the memories have remained in mind and, in a way, carried on a love for music. It can be that easy and low-key. You do not need to make lavish gestures but music, in so many ways, can do more than create a hobby: it can enrich lives and give someone a purpose. This Christmas is nearly over – in terms of buying gifts – but, going forward, do not underestimate the importance of music in someone’s life. So much of today’s sounds are on streaming sites and digital means. That is all well and good but there is something special and pure about music’s beginnings.

Record players might sound like an expensive gift but they can last for years. As an accompaniment; a record bag with a few vinyl would open eyes and minds; a great start for a child and, for those already committed to music; a treasured and valuable possession. I have asked for vinyl this year – in addition to a book on The Beatles – and asked for them so I can enjoy these items years down the lines. They not only provide entertainment and get memories flooding back; there is that nourishing, fulfilling side. I listen to an L.P. and can lose myself for that time. It is there when I need lifting and provides inspiration and guidance. Even a retro/old-fashioned music gift – a cassette player and tapes – is a charming and original choice. Listen to all the greatest musicians around and they all say the same thing: music, physical and audio, came into their lives from a young age. Not only did they experience a decades-spanning soundtrack but were given record players, vinyl/tapes. From there, they continued that love and chose to follow music as a career. It sounds like I am trying to force people into a music career but there is that integral link between early exposure/nurturing and continued commitment. One need not spend a lot of money buying vinyl and a record player to make a musical impact. As I say; it can be something more basic or music being played around the house.

PHOTO CREDIT: Getty Images

In my thirties; I am still searching for new music and, if a chance for gifts comes along; I am scouring the electronic aisles for vinyl or a rare find. The pursuit and hunger for music does not end when you get older. It is important we provide music upbringing to children because, as studies have shown; there it helps develop memory, motor skills and personality:

“Research undertaken by a team of researchers in the 1990s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills. The psychologist Howard Gardner already argued in 1983 that music intelligence is as important as logical and emotional intelligence. This is because music has the ability to strengthen the connection between the body and brain to work together as a team. For instance, when dancing and moving to music, children develop better motor skills whereas singing along to a song helps them to practise their singing voice. In general, the exposure to music supports children in their development process to learn the sound of tones and words…Many studies have investigated the importance of music in early childhood development since the 1950s.

 Two facts that are widely accept are that children do not express music in the same way as adults and that the years from birth to the age of six is the most important period for a child’s musical development. This is because even the youngest toddlers receive the tones of music and unintentionally differentiate in frequency, melody and stimuli. According to researchers, the early years of childhood are critical to learn to unscramble the tones of music and to build up a mental organisation system to memorise the music. This means that, like language development, toddlers develop their musical skills through imitating and memorising rhythms and tones of songs such as clapping to a beat and singing in tune. Without this ability children would not be able to develop their musical skills”.

A lot of these facts are already known but many are depriving children of a basic music upbringing – let alone any developed and sustained exposure. There are other reasons why the gift of music can enrich a mother/father-child bond:

“Further research also indicates that parents develop a stronger bond to their children when they enjoy music together. This way music is not only a tool that contributes to the growth and development of a child but it also helps the family to spend quality time and have fun”.

One can apply the same arguments and science to adults. Emotions and life is more complex as you get older: the mind develops and, psychologically, there are more challenges put in the way. Music’s place and importance become more focused and essential. Most adults have a love of music and listen to it on a semi-regular basis. Music has the power to help anxiety and depression; to make one feel less alone; to provide someone the drive to do more in life and take on new challenges. A single record/music gift can make a gigantic impact on someone’s life. I can chart my pursuit of music from my childhood and the upbringing I had – the music I heard and the gifts I was given. Even this far down the line; I have been inspired to rekindle a (long-forgotten) push to record music. I initially quit because of nerves and a lack of finance but I have stoked the fire back up – maybe not something sung; perhaps a samples-album or electronic-based recording. As we open our presents with fever and expectation, we will hang on to some of the gifts whilst some might last only a short time. Music is a gift that keeps on giving and does a lot more than provide aural stimulation. For adults and children, it can inspire a career and develop the mind; it can improve mental-health and provide direction; it can unlock memories and do so much more. It might be too late for this Christmas but, going forward, if you are looking for a gift idea or a surprise for someone special…

NEVER underestimate the power of music.

FEATURE: We Are the Resurrection: Why Manchester Will Play a Huge Role in 2018

FEATURE:

 

We Are the Resurrection:

IN THIS PHOTO: False Advertising/PHOTO CREDIT: Getty Images

Why Manchester Will Play a Huge Role in 2018

________

THEY say all the most exciting things…

IN THIS PHOTO: Stevenson Square, Manchester/PHOTO CREDIT: Unsplash

happen in cities! That is true but, from a musical perspective, most of the attention goes towards London. I can understand why excitement would be levied towards the capital: it is a bustling and energised city that draws you in and compels the mind. It is the way of things, where the record labels and media are based, depends on where they focus their time. That has been the way for a long time because there has been no real challenge and questioning. It can be difficult straying from London and look at music from other parts of the U.K. The problem is, as we head into 2018, that focus cannot be rigidly trained on London. I am one of those guilty of obsessing too much on the artists in the capital; promoting all the best new bands/artists coming through. The things is...there are other areas out there that are far more intriguing and exciting: Manchester is at the top of the list. I have always loved the city and, from a historical perspective; you cannot quibble with the legendary music that has come from the city. Over the past few days, I have been listening to a couple of documentaries on BBC Radio 6 Music: interviews with the brothers Gallagher. One, by Steve Lamacq, was with Noel – as he talked about his solo work this year and how he will move in 2018.

IN THIS PHOTO: Liam Gallagher/PHOTO CREDIT: ES Magazine/Ben Rayne

The other, by Matt Everitt, was with Liam. He was chatting about his first musical experiences, the end of Oasis and his debut (solo) L.P., As You Were. I am a fan of Oasis and, during the 1990s, it was that classic battle between working-class Oasis and the middle-class Blur. The Britpop battle that raged in the middle of the decade enthralled the nation and was one of the last great chart battles we have seen. Blur were considered the intellectual, cerebral type – based near the capital (Essex, actually) – whilst Manchester’s Oasis were the tougher, more accessible band. Blur won that battle in 1995 (when Country House pipped Roll with It) and, in the long-run, Blur won the war. Oasis’ best-two albums (especially Definitely Maybe) defined the early-1990s and, come their legendary gig at Knebworth; they were born legends and destined for the history books. One of the reasons I am mentioning Manchester is because of the North-South divide we are seeing. Maybe there is not the classist split there once was – there are plenty of working-class artists in London – but there is still that assumption the best and brightest are from London. I, as I have said, am culpable to an extent but I listen to artists like the Gallaghers and am charmed and stunned. I am not saying London artists – or from artists elsewhere – are boring but there is something special and different about Manchester artists.

IMAGE CREDIT: Getty Images

Listen to Liam and Noel talk and they are funny, open and refreshing. There is something addictive about them: the way they joke and play; the frank revelations and the way they describe their time with Oasis. I am not prone to huge sentimentality but I miss the heyday of British Rock/Pop and what happened back in the 1990s. Not only were Oasis celebrated but other northern bands like Pulp. In fact, just before then, The Stone Roses captivated the scene – and made an impression on Liam Gallagher – with their two albums, The Stone Roses and The Second Coming. The former was released in 1989; the latter in 1994. Ironically, it was their debut that made the great impact: the latter was less a second coming and more someone returning to work after faking their own death. By that, I mean their debut was such an immense work, they were unable to follow it up – the sophomore arrived in 1994; during a time when the likes of Blur and Oasis were forging their path and defining popular music. The 1990s was a fantastic time for northern music but I feel, since then, there has been s steady decline. That is not an indication of quality: the media has shifted its focus away and settled in London. Maybe that is because of the way the media/mainstream has shifted. There are more middle-class artists in the spotlight and working in the media – they tend to proffer artists who are like them and they can relate to. Because it is harder for working-class writers to get media jobs: there are far fewer working-class bands proffered and visible.

IN THIS PHOTO: PINS/PHOTO CREDIT: Andrew Benge 

This is a big problem that needs addressing. I am worried few working-class artists will get exposure and the scene will become too homogenised. One of the most exciting things I am witnessing is the revival of northern music. It is not as fast and hard as you’d like – the stubbornness of the media is a sticking point – but I am hearing a lot of great Manchester artists come through. We have all heard PINS and how well they are doing at the moment. They have a unique sound and have impressed critics with songs like Serve the Rich and All Hail. I am excited to see where the band goes and what they can achieve in 2018. They are a force to be reckoned with an offering an alternative to the rather limited and limp Rock scene happening in the South. Another group I have been looking at for a long time is False Advertising. I have been charting the trio for a year-or-so now and am impressed with the progress they are making. Like PINS; they have a unique take on Rock/Alternative and add Pop/Punk elements into the fray. They are worth keeping an eye out for and following next year. I know they have released a run of singles in the past – I feel an L.P. will arrive in 2018. They are making steps towards the mainstream and show what energy and innovation there is in Manchester right now.

IN THIS PHOTO: Maddy Storm/PHOTO CREDIT: Getty Images

Josey Marina made impressions in 2016 and was tipped for big things this year. She released her single, Heavy, earlier this year and looks set for a fruitful and productive 2018. Maddy Storm and Little Sparrow are two artists I know will make big headway next year. The former is a songstress who produces emotional songs that are reverb-rich and released her debut E.P., To the Sun, early this year. I know she is planning new material and gearing up for a busy 2018. I will follow her progress and can attest to her wonder and talent. Little Sparrow just released the track, Tender, and has impressed D.J.s like Chris Hawkins with her entrancing beauty and spellbinding vocals. Little Sparrow shows what a contrast is coming from Manchester right now. Larkins are hot property and being tipped as a breakaway band to watch. Songs like Tale of Cassandra recall Vampire Weekend whilst the ballad, Sapphire, is a tender and more restrained thing. Like False Advertising; they offer Punk-Pop physicality and colour. Heather, Ciara; Hugo and Charlie have been on the scene a while but Pale Waves are a band who have climbed steadily and made festival appearances in 2016 and this year.

IN THIS PHOTO: Pale Waves/PHOTO CREDIT: Getty Images

I know next year will be a big one for them as they continue to gain traction and respect. Their sound fuses the 1980s Pop of Madonna to the richer and deep sounds of Talking Heads. If you want to return to something more fired and dirty then Cabbage and The Blinders are worth your time.  Cabbage are from Mossley and, like Pale Waves, have been getting a lot of love and respect the last year – and they look set to carry on in 2018 and produce wonderful music. The Blinders are fresher but are a band who have produced some great sounds; have incredible tightness and are a fantastic live proposition. Manchester Evening News, BBC Radio 6 Music and other local sources are boosting the profile of Manchester’s music and ensuring the artists doing great work are getting the coverage they deserve. I hope the popular media makes efforts to collate all the great Manchester acts working at the moment because, as you see/hear the acts I have laid out – there is so much great and varied music in the city right now. I feel London has been grabbing headlines too long and there is a need for honest, ground-level music that comes from hard-working, relatable bands. I mentioned how working-class bands of the past – Oasis and The Stone Roses – captivated the nation decades ago: the time is right for the new breed of Mancunian artists to strike and impress. I have just touched the tip of the iceberg - but there are so many more great Manchester acts out there doing sterling work.

IN THIS PHOTO: Cabbage/PHOTO CREDIT: Getty Images

I have not included artists on the outskirts – such as The Orielles – who are getting great radio-play and respect. It is time to recognise the way music is changing and the need to embrace artists that talk about what life is like. One of the biggest drawbacks of modern music is the lack of artists detailing what is happening in the country; how life is for working people; something that goes against the proliferation of middle-class artists. I am not suggesting we will see anything like we did in the late-1980s/1990s when the biggest and most influential artists from the North. Manchester played a vital role and, with that drive, helped usher in Labour and changed the country. The people were united and it was one of the best times for music. We might not be in for another season that recalls the genius of Oasis and The Stone Roses but I would suggest something fantastic could happen. Few can deny Manchester is a vibrant city and, when you listen to the music, there is something instant and nuanced – the artists stick in the mind and get the heart racing. I hope the media pays attention to what is happening in Manchester and realises London’s stronghold needs relinquishing. Music lovers like me prefer the gutsier, expansive sounds of Manchester; music that reflects the nature and personality of the people there – some of the most intriguing and nicest folk around. The music of the city has guts and brains and, after a year that has provided little joy and unification; it is high-time we…

IN THIS PHOTO: The Manchester skyline/PHOTO CREDIT: Getty Images

KICK the Manchester resurrection into the mainstream!

FEATURE: Paper Priests: Why Drug-Related Deaths in Music Are a Wake-Up Call

FEATURE:

 

Paper Priests:

ALL PHOTOS (unless stated otherwise): Unsplash

Why Drug-Related Deaths in Music Are a Wake-Up Call

________

I’LL admit...this is not entirely festive or…

especially uplifting but, considering we all have enough Christmas-themed music and food in our bloodstream; I wanted to end my scribbling day by looking at something a bit more sobering and alarming. We have all read about the toll drugs have taken over the years. Drugs and music have had an uncomfortable association for decades. You would have to go back to the start of the twentieth-century to find any music that, in some way, has been clean and drug-free. By that, I mean there have been no artists/genres associated with drug-taking, We all adore and love artists like The Beatles and The Doors but, ever since the 1960s; some of our most-loved and institutionalised musicians have partaken in drug-taking. I am not saying that is a good thing but it is impossible to think of a band like The Beatles without L.S.D., cannabis and, well…who-knows-what coming to mind! So many of the biggest artists from music’s history have at least experimented with drugs. Sure; there are many who have remained clean and free from temptation – unwilling to wander the dirty back-alleys of abuse and recreational activities. Some artists claim drugs have helped unlock a part of their brain that leads to creativity and opens their minds: others claimed (certain drugs) ruined them and cut their musical lives short. In any case: one can never see any validity or excuse for taking drugs or elevating them to the role of Saviour and God.

Whatever an artist can do on drugs they can do clean – the same goes for alcohol, too! Unfortunately, in 2017, we are no closer to getting a grip on the drug situation. Whilst we do not have the flagrant and unabashed promotion of weed and blissed-out free-love (like we saw in the 1960s); that does not mean, behind doors and in bedrooms; artists are creating music without the ‘influence’ of drugs. This year, at least two high-profile musicians have been taken from us because of drugs. Chris Cornell was found hanged following a Soundgarden gig. The official toxicology report found lorazepam (Ativan) and headache medication. It is the former, an anti-anxiety medication, that many felt contributed to Cornell’s death. The coroner found drugs did not contribute to his suicide but his wife, and those close to Cornell, noticed a change in the fifty-two-year-old days before his death. He was slightly off and not himself; Cornell was heard slurring during the band’s final performance – clearly, there were drugs in his system hours before his death. Whether increased anxiety and stress meant he upped his dose; whether he was self-medicating to mask his depression – who can claim his death was free from any drug toxicity?! I know the drugs we are referring to here are prescribed but that brings an issue of anxiety and depression.

IN THIS PHOTO: Chris Cornell/PHOTO CREDIT: Getty Images

Lil Peep is another big artist who was claimed this year. He put his first mixtape out in 2015 and, later that year, he released two more – Crybaby and Hellboy. The openness with which Lil Peep connected with fans meant emotional nakedness and frankness were common currency. When I heard about his death – the fact he was barely in his twenties – my first reaction was one of shock and surprise. Such a promising talent seemingly wasted his life and needlessly took a huge gamble. Reading stories, articles and testimony made me think less about personal culpability and looked at a reckless and unregulated industry that let something like this happen. Naturally, we cannot safeguard and protect everyone but I wonder whether certain genres are guilty of glamorising and normalising drugs - and substance abuse., too That may seem naïve to many – Hip-Hop and Rap have often been linked with excessive drug-taking and addiction – but is it something that needs greater scrutiny given the circumstances surrounding Lil Peep's death? I will give more thoughts in a bit but I wanted to bring in an article The Guardian published in November:

“This permissiveness has claimed a talented victim in Lil Peep, a New York-born 21-year-old rapper who died this week of a suspected overdose. On his Instagram in the hours leading up to his death, he said he was taking magic mushrooms and “honey” (a kind of super-concentrated version of marijuana, turned into a wax); another picture sees him with an unidentified substance broken into pieces on his tongue. He is also filmed dropping bars of Xanax, the anxiety medication that has become perhaps the most fashionable drug in 2017’s rap scene, into his mouth”.

IN THIS PHOTO: Lil Peep/PHOTO CREDIT: Getty Images

That use of ‘honey’ gets me thinking about drugs as bling and accessory. Not all rappers and Hip-Hop stars fall into my condemnation but it seems the braggadocio associated with taking the ‘coolest’, latest drugs have led to needless loss of life. Whether it is a way of numbing hidden pains or gaining a twisted degree of acceptance from your peers – it is a madness and fuc*ed mindset that is permeating the bones and rotting the flesh of Hip-Hop. It is neither cool nor wise taking drugs and, whilst I sound like a preaching parent; how many deaths does it take to send a clear signal out?! The thing is: the human cost of drugs makes no bigger impression on those who take drugs as gun-related deaths do to those who own guns. There is a numbness and blind-spot that places the ability to get high above protecting life. That might be over-simplistic but is this a new phenomenon? Are these ‘designer drugs’ something that has come into music over the last few years? The same Guardian article goes into a bit more historical detail:

“Around the turn of the century, rappers increasingly started dabbling in designer drugs, too, particularly ecstasy. Eminem recorded two songs from The Slim Shady LP while high on it, while mentor Dr Dre suggested on Bad Intentions, “take an X pill, how the sex feel?” A little-noted detail is that the civic euphoria of Jay-Z’s Empire State of Mind is powered by the drug: “MDMA got you feeling like a champion / The city never sleeps, better slip you an Ambien”. Kanye West sees “a whole party melting like Dali” after dropping molly, rap’s now-favoured name for ecstasy (also namechecked by the likes of Tyga, Rick Ross, Rihanna and, infamously, Miley Cyrus). In their songs at least, there are no comedowns, only the dizzy, meaningless highs...

 …But at the same time, prescription drug addiction took hold of the US – last year, 91 people a day died of opioid overdoses. Thanks to a robust marketing campaign, sales of the opioid painkiller OxyContin grew from $48m (£36.5m) in 1996 to $1.1bn in 2000; in 2012, 282m prescriptions were made for it – a bottle for every American. Its popularity has tailed off slightly, but other prescription drugs – often used recreationally – have joined it, arguably in part thanks to the inadvertent marketing by rappers, who have swapped uppers for downers”.

It seems, in the years since the century’s turn, the need to level and mellow has, in a small way, substitute the desire to get high. That, again, might seem like a binary explanation but I wonder how much of the drug culture revolves around credibility and street-savviness; how much is tied to psychological issues – and whether history and traditions mean drugs are a natural part of an artist’s life. This year, given the death of Lil Peep; a fellow ‘Lil’ was foolhardy enough to rhapsodise drugs. He took to social media and proclaimed Xanax is “the new wave”. Not only was that declaration shared online and seen by thousands of people – it stupidly canonised a drug that is used to treat anxiety. There is nothing wanted or fun when it comes to anxiety. There are young and impressionable people who saw that tweet and would have reacted to it.

If they see a popular rapper highlight the joys of a certain drug/medication; how long before people are trying to procure Xanax and take it without any thought for their wellbeing? There are those who feel dislocated and depressed who need very little encouragement before they embark down the path of drugs – if their favourite artist says it is a good way to love; why would they not follow the same assumption?! It is all well and good judging someone like Lil Pump Lil Peep but they are both very young – Lil Pump is seventeen. Those charged with looking after the artists – the record labels and studio heads – appear more like pimps than priests. They are more concerned, when idiotic tweets come out, whether their star has enough medication and supply to get them by – or get them high. Is there any part of the marketing strategy that places concern on the artist themselves?! Do these men call someone like Lil Pump and ask after their health? It seems like there is little positive enforcement from those around some of the upcoming rappers. Maybe the older kings have avoided the worst effects of drugs and managed to maintain a career in spite of its effects. Artists like Snoop Dog have been boasting about weed-smoking and drug-taking for years. He is not the only one responsible: there is such a casual approach to drugs it seems like it is part of the fabric.

A lot of Rap/Hip-Hop artists live a pure and clean life – not wanting to associate with the worst elements of the genre – but there are too many prominent stars that are projecting a vile culture that needs to be stamped out. There have been other deaths in music related to drugs but, this year, the demise of Lil Peep has been the starkest warning. This sense of belonging and fashion; almost school-like where people are trying to fit into cliques – it is leading astray vulnerable people who need guidance and care rather than drugs and destruction. I realise other genres and artists are caught up with drugs but there is nothing as rampant and visible as the drug culture in Rap. This extend to Hip-Hop and is largely a male-perpetrated ill – few women are seen in the music news after overdosing. That is not a surprise as, along with the glamorisation of drugs, there is that never-ending sexism, materialism and violence. These sides have never gone away and, in many ways, drugs are all part of that persona. To many people; the death of a young rapper is not a big deal but it is worrying to see such a nonchalant attitude come out. How many other deaths will it take before there is greater strictness concerning drugs? We cannot regulate social media every hour of the day but tweets that promote drug-taking should be met with swifter force and punishment.

The year has seen suicides of artists such as Chester Bennington and Chris Cornell: there is so much depression and anxiety in the music industry - that is only being realised when we hear about the deaths – and self-harm – of some big names. Whilst I admit a lot of the drug-taking we see in Hip-Hop/Rap is an attempt to ‘fit in’ and ‘belong’: can we say deaths of artists like Lil Peep were because of that? His overdose followed a rather worrying that, for the final time, brings me back to that Guardian article:

“But perhaps these rappers’ ennui goes wider than mere Xanax, and into a numbing effect of our wider culture. One of the most chilling aspects to Lil Peep’s death is that his cries for help were so public, and yet went so unanswered – perhaps as a result of the paradoxically distancing effect of social media. He wrote on Instagram hours before he died: “I need help but not when I have my pills but that’s temporary one day maybe I won’t die young and I’ll be happy?” But we’re inured to see Instagram as performative, not real, and its inherently aspirational vibe along with the sheer visual noise of its scrolling feed drowns out individual torment. That Spotify named its playlist Tear Drop, selling back these artists’ real pain, doesn’t help”.

IN THIS PHOTO: Lil Pump/PHOTO CREDIT: Instagram

There are other factors to consider when looking at drug deaths – whether social media is creating greater distance and less empathy – and if artists like Lil Pump need to take greater responsibility and show better judgement when taking to social media. The death of Lil Peep is something that should not only shock the worlds of Hip-Hop and Rap but create a ripple through every genre of music. Those who digest the daily confessions and happenings of stars like Lil Peep probably did see his death coming but the fact he felt medication and drugs were the only options – a lack of societal support and humanity from those around him – exposed a putrid wound that needs cleansing and bandaging. It is clear there needs to be change and a more human, consistent contact between labels and their artists. Dispense with the drugs-are-cool assumption and start treating artists like human beings.

Maybe – because the issue of drugs and fashionability – have been present for decades; it is impossible to make too much headway and effect any real change. The worry is the problem will continue and it does not matter is there are a few deaths every year – so long as artists have a ready supply to get high (or low, as it appears) on. The New Year should see music write a list of resolutions: among them should be greater awareness of drugs in music – not just Rap – and what a toll it is having. It extends to social media and the way it is used; how artists feel they can open up without getting any help…it is troubling to see. I hope something good comes out of the deaths of musicians like Lil Peep and Chris Cornell (although the circumstances of his death are slightly deferent) raises questions and helps lessen a problem that is causing…

A toxic and disturbing stink.

FEATURE: Risk Strategy: Is Modern Music Lacking Gamble and Evolution?

FEATURE:

 

Risk Strategy:

PHOTOS (unless stated otherwise): Unsplash

Is Modern Music Lacking Gamble and Evolution?

________

I might squeeze another article out before the day is done…

PHOTO CREDIT: Getty Images

but that phrase – with the last three words – makes me think of an artist who, in a fairly simple manner, took big strides and risks with his music (Day Is Done is from Nick Drake's album, Five Leaves Left). I have put quite a shift in this year - but I am not willing to put the laptop to bed and end things here! Maybe my productivity signals a lack of social and sexual options but it is actually a matter of curiosity and intrigue. I am always looking to examine crannies and avenues of music few others explore. The album above, from Captain Beefheart, is hardly a record you can accuse of being predictable, formulaic and average. It is a rather pioneering, exciting and unusual album that, even by his standards, explores new ground. I have been looking at the records critics deem the very finest of 2017. Aside from masterworks by Thundercat (Drunk) and Kamasi Washington (Harmony of Difference) – the best of the rest are exceptional but albums you could probably expect in any other year. I am casting my mind back to a time when a record arrived that really changed the world. It may be a lot to ask of any artist – making something that differs from anything around – but I feel the times are changing. The political situation, here and around the world, is tense and there are more changes and shifts than we have seen in a long time.

My favourite albums of the year have been defined by their solidity and consistent – rather than any true originality and evolution. The music, in all cases, is incredible but I could not put my hand on heart and say these are any better/different to previous years. Modern music is fantastic and always inspiring but I wonder whether we need a boost or injection that compels other artists to follow suit. I listen to an album like Harmony of Difference and love the way it changes perceptions of Jazz and brings other genres into the mix. It is an expansive and experimental album that engages the senses and activates every part of the self. The same can be said of other L.P.s but this year has not seen too many breakaway recordings. Maybe that is fine, I guess – if there is a batch of world-class albums that what does it matter if they are not especially mind-blowing?! I feel the issue still lies with the mainstream and how labels/radio stations want their music. The finest stations out there prefer a sea with different-coloured fish and interesting coral: the most-popular options, mind, prefer their fish limpid, grey and easy to catch. I have been looking back at my vinyl collection and what constitutes a genuinely pioneering record. The albums I clasped for were Paul’s Boutique (Beastie Boys), Revolver (The Beatles) and Blue (Joni Mitchell).

IN THIS PHOTO: The cover to Beastie Boys' Paul's Boutique/PHOTO CREDIT: Getty Images

The latter is renowned for its exceptional songwriting and incredible vocals. It is a personal and immersive collection of songs that gets into the mind and remains with you. Perhaps it is the Beastie Boys’ landmark record that stands out. Perhaps it is harder to replicate the sample-heavy album in today’s climate. Back then (in the mid-1980s), few artists were trying anything as daring and challenging as that. Hip-Hop contemporaries like De La Soul and Public Enemy were equally ambitions when it came to samples and the way they delivered their messages. Despite the fact every act was trying to convey something that balanced original and commercial; they brought in a range of sounds and shook up the music scene. Say what you want about the 1980s but artists from that time – the best of them, anyway – pushed the envelope and did not follow arbitrary rules. The sounds that came out of the time are responsible for what we hear now. The same can be said of the 1990s. Then, in that wonderful decade; we witnessed incredible revelations and music-changing albums. I feel the issue around royalties and expense are putting artists off chasing borrowed sounds – there have been artists that have taken the chance and gone for it. I wonder, then, if limitations and rigid statuses are putting off musicians from going after samples?!

That is not the only way musicians can genuinely shock the music world. The finest albums of 2017 have seen expectations subverted and genres spliced; so many unexpected moments burst from the speakers. I loved the latest releases from Lorde, Thundercat and Laura Marling. I listen to the albums that released and never feel like I’ll play them decades from now. I guess time is the only way I can be sure but there is something about classic albums that hits you upon the first listen. Aside from the Jazz endeavours of Washington and some incredible Hip-Hop records this year – I have not been moved or had my thoughts altered in any way. In order to subvert expectation and remain in the mindset decades down the line, I feel something monumental needs to happen. That would involve risks and, if you have an established career; is that a chance too big to take?! Modern music is a busy and bustling environment so it is hard for artists to really make a statement and alter the senses. Back in the 1980s, when albums like Paul’s Boutique came out; critics were not expecting anything quite like that – it struggled to gain positive reviews and only got recognised as a work of genius years down the line. Can any modern artist afford to take a leap like that and risk losing critical appeal? That would be a huge blow to the career and could ostracise them from their fans.  

I am not suggesting anything as paradigm shifting as a sample-fused exploration that ranks among the greatest albums of all time. The truth is that, when you look at the list of best albums ever – as deemed by a critical wisdom of crowds – and the most-recent entry might be in the early-2000s. There are few albums (on the list) that come after the end of the 1990s. One cannot say it is a matter of tastes changing and the industry expecting certain sounds from artists. There is that issue of rebelling against expectations and doing something nobody else is. Is it easy, when we have covered so much musical ground, to craft an album that does not sound like something else?! Perhaps we have come too far and created too much music; there are so many new artists it can be difficult distinguishing the promising from the plain. I am seeing sparks and potential in every genre and it might be easy for me to sit here and judge others – without contributing anything to recorded music myself! I feel there are musicians that produce engrossing, year-defining music but there are few following suit. The biggest takeaway from each year is a sense of hit-and-miss. It has been a good decade or so since a record has come along and really blown the socks off.

In a couple of days; I will write a piece that pitches a yet-to-be-recorded record – a sort of fantasy line-up in terms of sounds and songs. There is a collective yearning for something out-of-the-blue and mesmeric to shake things up. I cannot quibble with the quality and variation in music – especially when it comes to new artists – but there are few pioneers that are changing the structure of music and making bids for the history books. The most impressive band I have heard in recent years is Melbourne’s King Gizzard & The Wizard Lizard. I have mentioned the guys a lot this year and featured them in various articles. A new song, The Last Oasis, has just been released and it follows hotly from a couple of other new songs. The band is promising a new album before the end of the year – having released four others so far in 2017! I do not know what form the album will take but the fact they are so prolific is a fountain of refresh in an industry where it can take artists years between releases. That is not to say the Australian band lack focus and quality. They have full control over the substance and consistency. From an infinite loop of a record to one with four songs of equal length; experimenting with micro-tunings and created new Progressive-Rock genius – each record sees the guys change and do something completely different.

IN THIS PHOTO: The cover to King Gizzard & The Lizard Wizard's album, Polygondwanaland/PHOTO CREDIT: Getty Images

Polygondwanaland, the band’s current album (and fourth of the year), was released free-of-charge. The band said fans can sell the record and bootleg it – they even made the master-tapes available to the public. Not only are King Gizzard & The Wizard Lizard switching genres and styles: they are reinventing marketing, release and promotion. This is the kind of risk and reaction I am looking for! There are few other artists doing things like them so I hope, next year, more artists will look at the way they record and release music. It is not gimmicky or novel: bands who challenge the way we perceive and share music should be applauded. Maybe it is an end-of-year fatigue but I have that desire for explosion and glory. There are artists out there who are capable of creating decade-defining albums but I wonder whether commercial pressure and fear of isolation are limiting their horizons. Maybe it is cost and logistics holding back some of their ambition and vision. Whatever it is; there are a lot of people yearning for a change. Maybe something monumental will not arrive in 2018 but there is nothing to suggest a once-in-a-lifetime album could not come our way. I have faith there is potential out there but it is the case those artists (who can unleash something majestic) need to…

TAKE that leap forward.

FEATURE: My Britain: The Fume of Sighs: An Alternative (Musical) Christmas Message

FEATURE:

 

My Britain:

ALL PHOTOS: Unsplash

The Fume of Sighs: An Alternative (Musical) Christmas Message

________

THE last couple of pieces today…

will look at some things that have been on my mind for a while now. Riding high into the spotlight is the way the country has been divided this year. This is the equivalent of my (Alternative) Christmas Message – with a musical flavour and component. The pieces I will write before the end of this year will round up the best of the year; the videos and new albums; maybe a piece about the most disappointing records – a few other things sprinkled in. I have been looking back at the year and noting the splits and cracks that are running through the spine of the land. I think music has made an impact and helped change things but, even here, there are separations and gulfs that need to be counteracted and addressed in 2018. If one looks at the political fabric of the U.K., we can see so much disagreement and argument. People cannot get on the same side and the General Election result has shown has divided we are as people. I feel slightly aggrieved as I voted for Labour and wanted us to remain in the E.U. That combination of votes is common in people my age and situation – the younger working-class- and we have had to rally against the Tory-voting public who voted Leave. The ‘majority’ meant Labour were in with a shout of gaining power but, rather than that sensible option materialising; we have seen the Conservatives on shaky ground; the P.M. has lost confidence and her cabinet have gone through changes and shifts – including unceremonious and embarrassing exits.

The elected elite who have been charged with running the country have made questionable decisions and shown they have little idea of what the people want and how to keep Britain dignified and progressive. The smoke is clearing and, whatever arguments are levied, you cannot help notice the people of this country do not want to be part of the world. Call it ‘xenophobia’, ‘racism’ or ‘stubbornness’ – it shows we are not as evolved and loving as we make out. It is a sticky political situation – so I shall not wade into the swamp wearing good trainers – but I feel we have made a real mess of things. I am not saying a clear Labour win would radically solve the issues we have with the NHS, Europe and the U.S. The Americans have hardly had a smooth year so it seems two of the most powerful and influential nations on the planet have set a hugely terrible example. My wish for 2018 is that the musical landscape does not follow the same one as the political. One of my biggest concerns is how centralised and nationalised music is becoming. The divisionism we are seeing between the public and areas of the nation is starting to seep into music. The more influence streaming services exult; the more, I feel, music is losing its tangential qualities.

Music is at its best and most inclusive when sentient and broad-minded. I think too much of our music revolves around London: everything gravitates towards the capital and artists elsewhere tend to get a minor acclaim. I am writing a piece tomorrow that looks at Manchester and how the city, next year, will gain more ground and respect (that is my hope). My dream is we adopt a more structured and disciplined musical cabinet that employs those who put parity and quality above all else. Although we do not have a bespoke musical government; one gets the impression that would be a good way of solving so many issues. One could have someone (a minister) designated to look after venues and their health; others who involve international music and make it easy for artists overseas to play in Britain; others who preserve older music and bring it to new generations – someone who looks at sexism and racism in the industry; is charged with strictly regulating the industry and it operates. If our own government is making a hash of things – who thought privately-educated toffs would be disconnected from the voice of the masses?! – it seems music has a big role to play as we head into 2018. The year needs to start better than this one ended. We have seen the Grenfell tragedy and the immense loss of life; how it could have been prevented and the ineffectual reaction by our government.

There has been terrorism and domestic issues; weakening foreign ties and a creaky, ill-advised move away from Europe – if we ever get around to leaving the European Union. Music has not been exculpated from problems and responsibility. We have seen more and more accusations feed into the entertainment industry: who knows how many musical figures will be accused and named next year? Another problem I have seen is how few national and international artists have been brought into a rather London-centric scene. I know I am guilty of promulgating London artists but they are the majority – those we have pushed into the forefront and want exposure. There is that assumption people will not take you seriously if you are from outside London. I am worried artists are having to fight hard to get recognition and being overlooked. We need to start broadening the scope and looking at the extent of great music in the U.K. Naturally, for a nation that seems intent on isolating itself (always good for an island!); should our music industry incubate and exclude those on the outside? I know we have foreign artists play here but I have been looking at the mainstream media and seeing more and more British artists proffered. It is always good promoting the home-grown but that should not come at the expense of international musicians.

There are great artists in the U.S. and Canada; Australia is always fertile whilst lesser-known countries for music – Sweden, Germany and France among them – do not get a sniff. I have mooted the idea of a musical government – should this extend to foreign sounds? The same way we have various departments looking after domestic and international quarters; should we have a mirrored musical cabinet that has an assigned Foreign Minister? I feel our media needs to be more conscious of the great worldwide scene and assimilate that into the British saucepan. The only way our own music industry is going to grow, inspire and compel on the international stage is if we welcome those in from other countries. Venues and fans, of course, have a welcoming bosom but the media is more reluctant when it comes to foreign musicians. The reason my five-part series of acts to watch in 2018 was British-heavy was the fact the national media have taken a similar approach – their rundown of artists to look out for has fewer international names than you’d hope. If P.M. Theresa May has been banging on about bringing back our blue passports and promoting the ‘Christian’ ethic of the nation – laughable and slightly ironic considering how keen we are to push others away – music could instil Buddhist/Christian tendencies to its practice. I feel the industry is getting too closed-off and concentrated on London. If the rest of the U.K. and world has to shout louder to get some seating-space; should that be something we need to tackle next year?

I feel there are key topics that need expunging next year. There is rife sexism and racism; there is the North-South divide (combine with the U.K.-world split); venues are suffering and there are too many key areas seeing deprivation and financial stress; the mainstream charts need restructuring and organising – so that certain genres are giving exposure; less reliance on Pop acts and the same sound we are all growing bored of. It is not going to happen overnight – or in a year – but it is clear there needs to be a proactive and together approach to the problems in music. This piece is not designed to sermonise and accuse: I wanted to show how much love and support there is in music. Although, creatively, there are fewer risks being taken than I would like – more on that later today – there is a definite community that embraces one another and shows compassion. I have seen so many musicians share the work of others; venues go out their way to support the best local acts; a host of blogs and writers sharing music and supporting upcoming acts. This Britain of ours is a kind-hearted country that has lost its way a bit. Maybe that has always been the way but, against political distress and balkanisation; the music industry needs to counteract that odious smoke and show greater resolve.

If we can get rid of the problems and imbalance in the industry; promote that warmth and sense of unification I know there is. Music is a huge and broad industry that is hard to properly police and regulate. Although problems and drawbacks are present; the combative wave of affection and love is a good way of remedying. I know many will want a happier and more settled year to the one we are saying goodbye to. We have lost some great musicians – including Tom Petty and Chris Cornell – and there have been problems, for sure. This Christmas; we will see the survivors of Grenfell provide a message to the people. It is this year’s Alternative Christmas Message and is an apt and timely one. The fire might have dampened by the smoke still lingers in the air – a fetid and carcinogenic smog that has blighted the country. The music industry has not faced anything as challenging and monumental as this but there is a collation of smaller conflagrations that, together, make me a little worried. All the good that has come from this in music has provided heart and encouragement. The artists and writers; the D.J.s and producers (and other creatives) who have helped provide a wonderful 2017 of music should be congratulated. I know the music world will continue to grow, evolve and strengthen. There are so many great artists coming through and predicted albums that will certainly get people excited. Despite some of the problems and division we have seen – in music and the country as a whole – we should be proud of producing a year that has seen…

MORE good than bad.  

FEATURE: Viva Las Vegas! The Highs and Lows of a Las Vegas Residency

FEATURE:

 

Viva Las Vegas!

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Getty Images

The Highs and Lows of a Las Vegas Residency

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I was going to end the day by writing about…

IN THIS PHOTO: A view of Las Vegas/PHOTO CREDIT: Unsplash

a growing number of drug-related deaths in the music industry. Maybe it is not the most Christmas-appropriate subject to raise but it is an issue that is relevant every day of the year. I shall leave that subject for the next day or two (or longer) but, right now, a look at artists who are entering a rather hallowed, albeit glitzy, manor. From Sir Elton John, Britney Spears and Prince have enjoyed long stays at various Las Vegas locations. Whether Caesars Palace or Rio All Suite Hotel and Casino – I often wonder what the motivation behind a Vegas residency is. It is an odd thing in music and one that draws comparisons to musicians who become talent-show judges. Many feel they are not passing on their knowledge and wisdom – rather, they have passed the peak of their career and are trying to remain viable and popular. I would never be so cynical but I feel it is interesting why some artists abandon the rather fraught and changeable daily existence and immerse themselves in the glamour and tinsel of Las Vegas. From Celine Dion to Rod Stewart; some of music’s biggest names have signed deals to take their music to tourists and Nevada residents alike. I mention this point because Lady Gaga has put her signature on a contract that will see her bring her unique brand of show(wo)manship and Pop magic to the people.

PHOTO CREDIT: Steve Granitz/Wireimage

Before I raise my doubts; I want to bring in a few sources who have looked at the lucrative side of the deal. Variety explained how the deal breaks down:

“The race to lock down Las Vegas’ highest-paying residency is heating up with Lady Gagaannouncing a two-year engagement at the MGM Park Theater. According to two well-placed sources, Gaga is guaranteed just over a million dollars per show, and is committed to 74 appearances. Should all go well with ticket sales, she could extend that run, inching closer to the $100 million mark, a new — and record — threshold for the city and for even the biggest of current pop artists. Gaga stands to earn even more on merchandise sales — typically a 50/50 split with the venue — and VIP offerings”.

The Guardian argued this opportunity indicates the way Las Vegas is perceived and how Lady Gaga is part of the new breed of artists coming through the city:

“Lady Gaga, whose live shows are notoriously outlandish affairs, often featuring over 20 outfit changes, has promised that her shows will be “unlike anything Vegas has ever seen before”. Yet while she may be the face of the new generation of Las Vegas performers, Lady Gaga said it was the appeal of performing in the “land of Elvis, Tony Bennett and Frank Sinatra, the Rat Pack, Elton John, Judy Garland and Liza Minnelli” that had enticed her. “It’s been my lifelong dream to be a Las Vegas girl, I’m so overjoyed.”

 PHOTO CREDIT: Pinterest

The singer has even dangled the possibility she will use the show to debut new material. While her most recent album, Joanne, has not matched the commercial heights of previous releases, her popularity is steadfast and she has been nominated for two 2018 Grammy awards, for best pop vocal album and best pop solo performance”.

It is good to hear there may be more material but I wonder whether the opportunity Gaga has taken follows my fears regarding Britney Spears: it is a way of dodging the anxieties and demands of the music industry. There is no doubt a Vegas residency provides plenty of dollars but is it more a case of performing somewhere stable and non-exhaustive? Lady Gaga’s regular work schedule would see her fly between nations and embark on endless dates – seeing hundreds of hotel rooms and barely catching her breath. There are advantages to the sort of residency that Britney Spears is about to end. The singer has enjoyed a four-year stay in Las Vegas and thrilled fans with her Britney: Piece of Me show. The thirty-six-year-old has enjoyed success in the music industry since she was a teenager and huge critical and commercial success. Sure, she has had some turbulent times but it seems her time in Las Vegas has done her some good. I am curious whether the decision was prompted by a slight downturn in career fortunes. Britney Jean, released in 2013, was the last album she released before heading to Vegas and it was not received with huge applause of appreciation.

IN THIS PHOTO: Britney Spears (playing Planet Hollywood Las Vegas)/PHOTO CREDIT: Denise Truscello

Glory, released last year, fared a lot better and showed a resurgent and refreshed spirit. Maybe, then, a Vegas residency is a way of stepping aside from the brutal machine of music and honing one’s skills. If the likes of Rod Stewart and Celine Dion entered Vegas past the glory-days of their careers: can the likes of Spears and Gaga learn from their times and create the sort of early-career material that put them on the map?! Joanne, unveiled last year, gained some great reviews but not the same affection as, say, her debut album (The Fame/The Fame Monster) or 2011’s Born This Way. Perhaps the constant touring and media glare has caused the U.S. singer-songwriter a lot of aggravation and exposure – unable to have a private label and relax from the constant glare and gossip. I have seen how musicians like Sir Elton John – someone who seems born to take to the Vegas stage! – gain a new lease and energy from regular performance in a comfortable environment. I guess Las Vegas, to some, represents a rather tacky and nauseating side of America. We associate it with gambling, endless neon strips and meaningless weddings. In reality, mind, there is a rich showbiz history that has seen the great of music (like Frank Sinatra) perform there.

IMAGE CREDIT: Getty Images

Maybe Las Vegas is not as productive and intriguing as L.A. or New York but the sheer number of tourists who flock there every year is making it a popular ideal for our biggest musicians. I realise there are more positives inherent (than negatives) when it comes to signing that multi-million-dollar contract but I am curious about the suggested implication those who, traditionally, have played Las Vegas have not been at the top of their game. Maybe Elvis’ time there was legendary but one gets the visions of musicians past their prime entraining crowds who want a comfy chair and a chance to be in bed by 9 P.M. Maybe that is harsh but is it a way for certain artists to keep the dollars rolling in without having a sustained and concerned critical presence on their shoulders? They may have recorded great albums in the past but it seems this is their latter-days vocation and somewhere they can still play music but not have to worry about album sales, reviews and the media’s opinion. Perhaps that is not a bad thing but the bright lights of Las Vegas seem light-years away from the cooler, cutting-edge stages they would have walked years ago. Others might say artists are chasing the green. These contracts make the eyes water when it comes to pay. I know the artists are doing a lot of dates but each performance can net the musician somewhere in the region of a cool $1,000,000!

PHOTO CREDIT: Getty Images

Lady Gaga is not exactly going to have to drink from the toilet or wash her underwear in the kitchen sink! Again; maybe it is the cynic coming out in me. We associate Vegas with gambling and gaudy wealth so is it a rather appropriate reflection an artist should receive a big pay-day but, in the process, play loose with the risks. For someone like Lady Gaga and Britney Spears – the latter used to the demands and lifestyle of a Las Vegas residency – can they step back into the music industry and re-adapt to the (comparative) stress and demands of their former existence?! It is hard to come down from the environment of a Las Vegas hotel/casino and going on tour – playing in different nations and a variety of venues. The niggling suspicion is a lot of artists either do not intend on returning to music or will wind their careers down. Will Britney Spears continue to make Pop music in a few years’ time – when she will be forty?! Unless she reinvents herself like Madonna did for Ray of Light (2000); one suspects the kind of music she is synonymous will appear unseemly being sung by someone approaching their fifth decade of life. I hope Spears does continue to release music but she has been away from the focus of many of her fans and followers. I wonder whether she will ever record another album or, having spent four years performing big and tiring shows, she will take the volume down and record music with great gentility and subtleness.

PHOTO CREDIT: Unsplash

I think there are a lot of good points but only on the proviso the artist, once they have ended their residency, can assimilate back into the musical jungle. Lady Gaga is ending her Joanne World Tour in February and will take a little time to reflect and get some rest. Then, having entertained thousands of people in a whistle-stop tour of the globe; she will prepare her show for Las Vegas and hope to remain there for a while. The reason I say that is because of a report I read in The Guardian back in September:

“On Monday it was announced that Lady Gaga has cancelled her European tour, due to begin next week, because of “severe physical pain that has impacted her ability to perform”. She has fibromyalgia, and has made a Netflix documentary, Gaga: Five Foot Two, to raise awareness about this long-term condition. A statement says: “She plans to spend the next seven weeks proactively working with her doctors to heal from this and past traumas that still affect her daily life and result in severe physical pain in her body. She wants to give her fans the best version of the show she built for them when the tour resumes.”

PHOTO CREDIT: Getty Images

One can imagine there was a sense of relief when Britney Spears was afforded the chance to head to Las Vegas four years ago. Having gone through various relationship splits and an up-and-down spotlight from the critics – some of her albums getting praise and respect; others a little colder regarding her music – it must have been quite a relief stepping into a routine and regular spot in Las Vegas. Her show is coming to its end but she has enjoyed a four-year period of financial stability, regular personal enrichment and a chance to breathe. Most musicians do not have a lot of time to see family and take time off; they are ferried around – that puts a strain on their physical health and mental wellbeing. Spears, having suffered the stresses of music in the past, has been busy during the last four years but not as chaotic and turbulent as it would have been in the ‘regular’ side of the industry. A central stage and regular, adoring crowds would have provided her the impetus to keep performing and, in doing so, a degree of spiritual enrichment that was desperately needed. Anyone who has seen Lady Gaga’s recent documentary, Gaga: Five Feet Two would have been moved by her bare-naked revelations and plight. She opens up about stress and depression; how fibromyalgia has impacted her music/life – throwing a light on the realities of the business and how hard it can be.

IN THIS PHOTO: J.Lo/PHOTO CREDIT: Getty Images

Few of us are aware of what happens behind closed doors and what a high-profile musician is like away from the microphone and camera. Stars like Britney Spears and J.Lo (another big name who has taken her music to the Vegas crowds) have been scrutinised and scandalised by the media – in a way; Las Vegas provides a shelter and safety for them. Lady Gaga will have a more stable diary and have time to rest and get away from music – not a lot more much more than she normally would. Her contract covers a set amount of dates (seventy-four) but that could be extended. One of the only issues is whether her fibromyalgia flares and exacerbates during that run. She is tied into a contract so missed dates might compromise the deal. I feel she will be a lot more settled and, not only will her mental-health and physical safety be better; she will be able to hone her craft and find fresh inspiration. One can argue previous Vegas incumbents like Elvis Presley, Sir Elton John and Rod Stewart have found new lease and creative juice following their time in Las Vegas. I look forward to seeing whether Britney Spears A) brings out an album next year and, B) it employs different genres/a more mature and left-field musicianship. It is possible Lady Gaga, following her time in Las Vegas, might change her dynamic and, perhaps, tone her music down.

IN THIS PHOTO: Sir Elton John (during one of his Las Vegas shows)/PHOTO CREDIT: Getty Images

There is nothing wrong with the theatricality and pantomime of her music but, for anyone who listens closely, there is incredible songwriting and hypnotic hooks that compel music fans of all ages. I am excited to see her given some time away from the strain of the music industry and find creative focus and some sense of stability. There are demands and definite stresses involved with mounting a Las Vegas show and one cannot underestimate the effort and dedication needed to perform all of those dates. I worry the build-up, expectation and wok-load will cause some scars and cracks but it will be less strenuous and brutal than an average tour for Lady Gaga. The biggest hope, following her time there, is she can take what she has learned and continue to make music. I fear many Las Vegas leavers failed to record much new material – it certainly does not match the gold and brilliance we know and love them for. Lady Gaga is a figure the music industry needs: her brand of Pop is just what we need at a time when there is too much predictability, sterility and generic. It has been interesting looking at this subject and I am pleased Lady Gaga has the opportunity to bring her power and talent…

PHOTO CREDIT: Unsplash

TO Las Vegas.  

FEATURE: Inkheart: The Music-Themed Tattoo and Mental-Health

FEATURE:

 

Inkheart:

ALL PHOTOS (unless credited otherwise): Unsplash

 The Music-Themed Tattoo and Mental-Health

________

THIS might seem like a strange…

thing to talk about – and the dearth of inspiration and relevance – but, despite the fact I will keep this short, there is plenty of relevance. I am always fascinated by people’s music tastes and what it means to them. We blithely and nonchalantly listen to music and it becomes part of our routine and daily lives. We all have our favourite songs and gravitate towards certain artists. I have spoken at-length about mental-health and how it is on the rise. One cannot ignore the sort of things we hear on the news and read about on social media. Most of my contacts are musicians and it is devastating hearing so many tales of crisis, depression and anxiety. Whether the music industry itself is causing this – or there are personal issues affecting the problem – I do not know. It is clear, in 2018, we need to look at the music business and ask whether artists are being placed under too much pressure. It is harder to find success and attention now – than it was years ago – and the sheer effort needed to maintain a career is staggering. With this sort of hardship and burden placed on every musician; one wonders what the toll is going to be. I realise it is getting into depressive territory but, as it is almost 2018, many artists are planning their diaries and wondering where they will be heading. They will have aims and ambitions and, with that, the hard work begins. The strain we are putting on artists is immense.

Even me, who does not have the same ambitions and goals as musicians, are putting themselves in harm’s way and creating a lot of anxieties – it is a problem of the modern climate and something we all need to be more aware of. So, then…what is the idea behind this feature? Many people I know are getting down and finding inspiration in music. Whether that is a lyric or a symbol; a favourite song or artist – something that simple can provide solace and direction. I am not suggesting for a minute something as minor and meagre as a tattoo can be the difference between life and death. What I am suggesting is a tattoo can help provide a sense of place and focus. I am seeing more and more people (not only musicians) taking that commitment and getting themselves inked. Whether it is a great lyric or name of their choice artist: carrying that with them provides security and pride. A lot of people have tattoos and, with everyone, there will be different reasons as to why they chose that particular design. Another reason I wanted to write about this is because I still hear a lot of people judging and condemning them with tattoos – calling them ugly, vulgar and unsightly.

PHOTO CREDIT: Pinterest

The reason I got one, years ago, was to show my love and passion for something that has a significant purpose – it is nothing as lofty as a relationship or girl – and I do not regret my decision. In fact; I asked for a tattoo voucher for Christmas. I have found myself becoming pressured (maybe by my own work ethic) to be good and to achieve. No matter how popular and busy you are somewhere, there is a part of the brain that says you are not good enough. Maybe it is a natural human reaction: always wanting to be better and measuring ourselves against unrealistic ideals. The desire to keep working, pushing and pounding, naturally, causes its fair share of anxiety and fatigue. Kind words and praise are goods for the soul but that washes away and, before you know it, the tiredness and stress comes back. I felt a great way of reminding myself why I do what I do is a tattoo. I am seeing a lot of my peers proudly support tattoos on their social media pages. Many of them are going through some tough times and have headed to the tattoo studio to get some personal and musical etched onto their skin. I know tattoos have been sported by musicians for decades – an integral part of movements like Punk – but I am talking about something much more personal and significant.

I will not reveal the design I am choosing but the reason I wanted to a tattoo (studio) voucher was to show my dedication and affiliation to music. Those who turn their noses up at the inked do not understand the reason people do it. Everyone I know with a tattoo has a story behind it; it represents something pure and meaningful. Many of the people I see getting tattoos are choosing music designs and having words/lyrics inscribed; they are facing hard times and indecisions by reminding themselves why they are in the industry. There are, of course, musicians who get music-themed tattoos because they want to show their love of a particular artist/song – with no mental-health subtext behind it. What does strike me is the passion artists have and the fact music means that much to them. Perhaps that is no huge shock but getting a tattoo is such a huge commitment and decision. It is going to be with you forever – unless you get it removed – and, in many cases, is visible to everyone else. I have been focused on my work but losing focus of why I am pushing myself so hard. It seemed like a tattoo would be the best way of providing that permanent reminder and guide. So many others are taking that plunge and, in doing so, making a big difference in their lives.

I have heard of people suffer terrible depression and tempted to do something horrible. By getting a tattoo – with something deeply significant on their skin – it provides a warning sign and comfort; a reason to keep going and a constant reminder of who they are and why they matter. It can be quite scary getting a tattoo done (especially if this is your first time) and it is not something I would advise people do unless they have thought it through. It was a no-brainer decision for me but, when it comes to design, that took a bit of thought. I will post pictures when I have had it done but, as I look around for structure, vision and reasoning – something as simple as a tattoo can be very powerful and affecting. I can understand those who do not want a tattoo done themselves but have little time for those who claim they (tattoos) are ugly, pointless and offensive. I have seen so many artists (and others) get tattoos done and there is always a different reason behind the choice. To some, it is a great way of showing off their love of music; for others, it is a great way of taking something musical wherever they go. To some, mind you, there is something beyond the skin-deep. It can be, quite literally, the difference between life and death: a symbol/phrase that brings them back from a dark place and provides light. Nobody can judge those people and I am so pleased there are more and more people getting tattoos. Whether your reasoning spiritual or personal, mental-health-based or for sheer fun – tattoos are part of the musical fabric and can create a sense of identity and confidence. A tattoo is a reason I am making bigger plans for next year and, to so many other people, it is a permanent way of reminding them to… 

PHOTO CREDIT: Pinterest

NEVER give up hope.  

FEATURE: Ones to Watch in 2018: Part V: To the End...

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Nicole Atkins/ALL PHOTOS (unless credited otherwise): Getty Images

Part V: To the End...

________

THE final part of this feature…

IN THIS PHOTO: Tom Tripp

brings together some top talent who, I reckon, will do some good things in 2018. It is a largely British affair but there are international acts – from Berlin and Nashville. Here is the rundown of the artists who have the ammunition and potential to make their impact on music next year; to lay down a marker and get closer to the mainstream…

_________

Lewis Fieldhouse

Genre: Americana-Pop

Location: London, U.K.

Follow: https://www.facebook.com/lewisfieldhousemusic/

Twitter: https://twitter.com/lewisfieldhouse

The Rhetoriks

Genres: Urban; Dance

Location: U.K.

Follow: https://www.facebook.com/TheRhetoriks/

Twitter: https://twitter.com/TheRhetoriks

Elle Watson

 PHOTO CREDIT: Haris Nukem

Genres: Pop; Alternative

Location: Sevenoaks/London, U.K.

Follow: https://www.facebook.com/ellewatson/

Twitter: https://twitter.com/ellewatson

Catholic Action

Genre: Alternative

Location: Glasgow, U.K.

Follow: https://www.facebook.com/catholicactionband/

Twitter: https://twitter.com/_CatholicAction

The Hyena Kill

Genre: Rock

Location: Manchester, U.K.

Follow: https://www.facebook.com/thehyenakill/

Twitter: https://twitter.com/thehyenakill

Dashni Morad

Genres: Alternative-Folk

Location: Irbid, Iraq/London, U.K.

Follow: https://www.facebook.com/moraddashni/

Twitter: https://twitter.com/Dashni_Morad

LARY

 PHOTO CREDIT: Becca Crawford

Genre: Alternative

Location: Berlin, Germany

Follow: https://www.facebook.com/LARYSAYS

Twitter: https://twitter.com/larypoppins

 

Eva Lazarus

 PHOTO CREDIT: Domas Zinkevicius

Genres: R&B; Pop

Location: Bristol, U.K.

Follow: https://www.facebook.com/Eva-Lazarus-117339965031307/

Twitter: https://twitter.com/EvaLazarus

Benny Mails

Genres: Rap; Hip-Hop; Grime

Location: London, U.K.

Follow: https://www.facebook.com/BennyMails/

Twitter: https://twitter.com/BennyMails

Sälen

Genres: Pop; Alternative

Location: London, U.K.

Follow: https://www.facebook.com/heysalen/

Twitter: https://twitter.com/heysalen

Little Sparrow

Genres: Folk; Singer-Songwriter

Location: Manchester, U.K.

Follow: https://www.facebook.com/uklittlesparrow/

Twitter: https://twitter.com/uklittlesparrow

Tom Tripp

PHOTO CREDIT: @ronanksm

Genre: Electronic

Location: London, U.K.

Follow: https://www.facebook.com/TomTripp/

Twitter: https://twitter.com/tomtripp

Nicole Atkins

PHOTO CREDIT: @jensvandervelde

Genres: Rock ‘n’ Roll; Alternative; Country

Location: Nashville, U.S.A.

Follow: https://www.facebook.com/NicoleAtkinsOfficial/

Twitter: https://twitter.com/NicoleAtkins

PINS

PHOTO CREDIT:  Andrew Benge 

Genres: Alternative; Rock

Location: Manchester, U.K.

Follow: https://www.facebook.com/wearepins/

Twitter: https://twitter.com/WeArePins

Luke Edney

Genres: Pop; Rock; Blues; Folk

Location: Surrey, U.K.

Follow: https://www.facebook.com/lukeedneymusic/

Twitter: https://twitter.com/LukeEdneyMusic

CHILDCARE

 PHOTO CREDIT: Wolf James Photography

Genre: Alternative

Location: London, U.K.

Follow: https://www.facebook.com/CHILDCAREBAND/

Twitter: https://twitter.com/CHILDCAREBAND

Emmi

Genre: Alternative

Location: London, U.K.

Follow: https://www.facebook.com/emmimusic/

Twitter: https://twitter.com/emmimusic

Phobophobes

PHOTO CREDIT: Steve Gullick

Genre: Alternative-Rock

Location: London, U.K.

Follow: https://www.facebook.com/Phobophobes/

Twitter: https://twitter.com/PPhobes

Violet Skies

Genre: Pop

Location: South Wales, U.K.

Follow: https://www.facebook.com/iamvioletskies/

Twitter: https://twitter.com/IAmVioletSkies

Dama Scout

Genres: Alternative; Pop

Location: London/Glasgow, U.K.

Follow: https://www.facebook.com/damascout/

Twitter: https://twitter.com/damascout?lang=de

Tigercub

Genres: Pop; Alternative

Location: Brighton, U.K.

Follow: https://www.facebook.com/tigercubtigercub/

Twitter: https://twitter.com/_TiGERCUB

FEATURE: Strings Attached: Is Acoustic-Based Music Relevant in the Modern Scene?

FEATURE:

 

Strings Attached:

ALL PHOTOS (unless credited otherwise): Unsplash 

Is Acoustic-Based Music Relevant in the Modern Scene?

________

BEFORE this year is through…

I will look at a variety of things I have not covered before. Among them will be new technologies and breakthroughs; ideas and suggestions; some of the best (and worst) musical achievements of the year; tattoos (believe it or not!) - and a lot of other stuff. My energy for Christmas-based features has waned slightly so I am going to look at non-festive topics that are of interest to me. One thing I have noticed about modern music is how few genuinely appealing acoustic-led songs there are out there. The past few years, certainly, has seen genres like Folk relegated and overlooked. Many might say that is nothing new: it has never gained the focus it deserves and has struggled for appreciation. I guess the last time acoustic artists were truly commended and celebrated was back in the 1960s and 1970s – the likes of Bob Dylan and Joni Mitchell, for example. I will come to them but feel modern music has evolved and changed so much there is that emphasis on sound and energy – fewer artists willing to strip it back and produce something quite tender and Folk-y. Of course; there are other genres where one can hear softer strings – there have been a couple of albums this year that have provided that sense of comfort and contemplation. Courtney Barnett and Kurt Vile’s Lotta Sea Lice (awful title, by the way!) gained some great reviews but some felt the record was a middle-ground and compromise: none of Barnett’s fire and playfulness; the material did not match Kurt Vile’s best days.

Although that record garnered appreciation and showed both songwriters were suited to one another and able to step outside their usual remit – most of its gentler moments still had an electric guitar in the mix. Top Folk albums like Queen of Hearts by Offa Rex and Julien Baker’s Turn Out the Lights have stepped into Rock territory and employ a lot of different sounds and variations. I guess you can claim albums like Stranger in the Alps (Phoebe Bridgers), Not Even Happiness (Julie Byrne); Hitchhiker (Neil Young) and Memories Are Now (Jesca Hoop) are quite soft in places. Hoop’s album was reviewed by Allmusic’s Marcy Donelson who claimed:

“The whole record, in fact, is injected with a heavy dose of gumption and irreverence, a spirit that, deliberate or not, seems timely in the sociopolitical climate of early 2017”.

Maybe it is the times we live in that means fewer artists are picking up an acoustic guitar. There is a lot of tension and uncertainty in the world - so it is only natural modern artists would reflect this through greater urgency and sonic exploration. I would counteract that assertion with the fact, back in the 1960s, there was plenty of political strife and social division. Artists like Joan Baez and Bob Dylan created assertive and sentient music with acoustic strings – that offered commentary regarding the world around them (and wise words).

PHOTO CREDIT: Getty Images

I feel this year has been a good one for music but is defined by sonic ambition and evolution. Even Folk artists – who exist in a genre defined by a certain stillness and grace – are pushing the envelope and taking the genre in new directions. I guess music is much more competitive and busy than ever and there is that need to stand out from the crowd. Will one fall for an artist unless they provide music with depth, vibrancy and colour? It is hard to capture the minds armed with little more than an acoustic guitar, songbook and voice. It may sound like I am hankering after a time that no longer exists: has music come too far so acoustic-made music is no longer viable and demanded? There are Pop artists (like Ed Sheeran) who produce acoustic music but they/he appeals to a very limited audience. Even musicians like Sheeran, who courts a huge following, are not really offering anything original and memorable. The reason this subject comes to my mind is the fact I have been listening back to great Folk/Pop albums of the past and immersed in their beauty and power. One need not be rigid when it comes to the definition of ‘acoustic’. Take an album like Blue (Joni Mitchell) or Tapestry (Carole King) and you get piano and other elements. Again; there are very few albums that strip things back and provide shivers and astonishment.

Is it, therefore, impossible to replicate the sounds of the 1960s/1970s – at a time when music is at its hottest, most jam-packed and varied? The acoustic artists we hear on the radio now, for the most part, seem to have little to say and do not really remain in the mind.  For those who want a modern-day Wonderwall (Oasis) or Blowin’ in the Wind - where do we turn to get our fix?! Perhaps we do not have the same calibre of artists now but I wonder whether guitar music is as relevant in the modern day? I read an interesting article by Billboard published earlier this year – that asked whether Folk music was social relevant – are modern artists preserving the ethics and ideals of their forefathers?

“It’s hard to imagine the turbulent '60s without such folk songs as “Blowin’ in the Wind,” “Eve of Destruction” or “The Times They Are A-Changin’” serving as musical markers of protest. And when Lady Gaga opened her Super Bowl halftime show earlier this month with Woody Guthrie’s iconic folk song “This Land Is Your Land,” the 77-year-old patriotic anthem got introduced to a new generation.

As America enters its most fractious political time in decades, can folk regain the social relevance it once had as the musical voice of resilience and resistance? The very people you would expect to say yes -- some of the biggest artists in the folk genre -- said no during the 29th annual Folk Alliance International conference held Feb. 15-19 in Kansas City, Missouri. But they passionately believe that folk music and its heritage will have a moral and guiding role in shaping the conversation, no matter what it sounds like.

 “White boys with guitars is a bit outdated,” FAI keynote speaker Billy Bragg told Billboard. However, he added, “This is one of those fertile times when folk music can come along and feed the resistance. What’s different is that music no longer has a vanguard role in youth culture because of the internet. There are so many different ways to express your anger now, whereas before the only real medium that made sense was music. If you’re 19 and angry, you can make a film on your phone.”

Modern bands like Shame and IDLES are producing terrific guitar music; there are promising Punk/Alternative groups appearing on the scene right now. I agree (with Bragg) Folk music has a vital role in today’s world! The political and social clashes mean there is a need for artists to articulate the divisions and strains we are all aware of. If, as suggested, there is a strong and necessary Folk scene cementing and rising – where are the acoustic-based artists?! The same article raised an interesting point when referring to U.S. Folk and the type of sounds/styles favoured:

“It is a tough line to walk, said upcoming folk singer Caitlin Canty, especially when so many artists make their living playing in red states before paying customers who want to be entertained, not necessarily preached to.  “I feel sympathetic to those audience members,” she said, adding that she kept most of her political opinions and activism separate from her music -- until recently. “We need our Guthries right now,” she said. “That’s not how I’d stereotype myself or my friends, but I think everyone is adding that piece to their personality right now.”

 What folk artists may lack in arena-sized audiences, Finnan believes they can make up for in a more personal outreach. “The activation that is happening now is at a grassroots level,” he said. “There is an intimacy to the presentation of acoustic-based folk music that is in the coffee houses, in the community halls, in the church basements, in the high school gymnasiums that has a very disarming quality and that has a proximity to people’s hearts and lives that is different from commercial music. There may be a few crossover acts that bump up into that world from ours, but I think it’s a different track that folk music can tak.”

It is that personal touch I want from music. I love the way music continues to change and develop but I am concerned the market/mainstream demands artists have a certain sound. Even modern Folk, away from the underground, is defined by a more varied and genre-splicing sound. Aside from the odd album here and there; I am hearing few acoustic artists who can genuinely stand out and create an impact. I long for the literate and cultured sounds of The Beatles (the sort of sounds they were producing around 1964-1965), Simon & Garfunkel and Bob Dylan – artists that have survived the years and inspired so many people to go into music. I guess a lot of acoustic-focused music is Folk and, historically, that genre has investigated poorer communities and struggles; the plight and fight of those suppressed and ignored. If, in a gentrified and developed world, there is less social poverty – Folk music loses some of its traction and necessity.

I think there is plenty of struggle and hardship out there but, whereas Folk artists addressed these problems in years-past; now,  genres like Hip-Hop and Rap are taking over. It is important to preserve the traditions of Folk because it is a way of passing down to generations the reality and situation of the world. A lot of current music shies away from issues like social deprivation and political tension – the same themes and subjects (love and personal struggles) are still the popular currency. It is not only Folk music that employs acoustic strings to convey its messages. I have mentioned artists like Joni Mitchell, Bob Dylan and Carole King. They, between them, have crafted immaculate, heartbreaking love songs on the acoustic guitar. It is not true that all acoustic music is Folk; it is not the case all the greatest songs ever created have gone beyond the humble six-string. I wonder whether artists are concerned something pastoral and acoustic alienates them from the public. Folk is transforming and most mainstream artists employ more instrumentation into their music. I know acoustic music, in general, has never been huge – it is nice to hear artists bare their soul in an original and striking way with little more than that single instrument.

I do not buy into the assumption guitar music is dead and extinct. Maybe that is true of the mainstream but, when you look at the great artists coming through right now – maybe independent and underground – there are plenty of Punk/Alternative/Rock options. I believe there will be a revival and re-examination of guitar sounds. Solo artist-made music is more popular and impressive (in my view) than band-created sounds but the contemporary musician is a lot more adventurous and vivacious than previous years. You can debate how important and relevant acoustic music is at a time when there is bubbling communal anger and universal friction. Perhaps we do need the fire and motivation of Hip-Hop pastors; the incredible fizz and innovation of the new bands emerging. It is a shame the likes of Bob Dylan and Joni Mitchell seem to be a product of the past - something we cannot reverse and revert to. Perhaps this is something we need to consider for 2018? We need to promote artists who document the desire of the people and go beyond the predictable and generic songs of love and relationships. I do not agree that acoustic music – whether Folk or Pop – is a non-entity that has little muscle and importance. Maybe it is a fear of commercial isolation or a lack of quality – there enough great singer-songwriters around that can argue against that point – but I feel the sort of potency and genius one can only get from the acoustic guitar still…

HAS a huge role to play!  

FEATURE: Wonderful, Glorious: Is There Such Thing as a ‘Perfect’ Song?

FEATURE:

 

Wonderful, Glorious:

ALL PHOTOS (unless stated otherwise): Unsplash

 Is There Such Thing as a ‘Perfect’ Song?

________

AT this time of year…

we wrap everything up (apart from presents) in a sense of wonder and delight. We are relaxing into Christmas and everything is a lot calmer and happier now (than any other part of the year). Some, in fact, see the Christmas period as ‘perfect’. It is a time for family and retuning; taking it easy and enjoying time away from the strains of everyday life. I have been thinking about – as I launder the Christmas stocking – whether there is, in music, such thing as ‘perfect’. One can argue music is so subjective there is no such thing as a perfect album or song. On the album front; I wonder whether there are creations that are, if not perfect, as near as you will get? Do emotions and time make a record better and more meaningful? You can debate an L.P. like Revolver (The Beatles) or Rumours (Fleetwood Mac) has no filler and, as they have endured and impressed for decades, they are perfect. I am a massive fan of The Beatles but can compartmentalise their albums into categories: the most underrated, the finest; my favourite, the most influential. Revolver would definitely fall into the category of ‘the finest’ – my actual favourite would be Rubber Soul. Albums like Rumours are phenomenal but I would say there are a couple of songs I do not listen to with my whole heart.

Maybe they are skipped – despite the fact they are great – and I rush to the other numbers. Albums, like songs I guess, can be judged subjectively. I thought of this topic because I am listening more and more to new music – inevitable, given what I do – and trying to detach from older tastes. I think we all find natural comfort and sensibility in the music we were raised on; the artists that compelled us to fall in love with music and become fascinated. Newer music can resonate and inspire but there is always that natural attachment to the songs of old. Given the fact modern music is so busy, big and eclectic: do we ever get the chance to sit down and really investigate a moment?! We are inundated with streaming, new singles and hot acts – they are sort of flash past and you never get the opportunity to savour and linger. A few songs might stick in the brain but when was the last time you had to stop everything, turn the radio/laptop up and listen to this phenomenal track blasting in your ears?! Tomorrow, I want to look at acoustic music and whether it has lost its edge: now, as I debate the comparative merits of newer music; I wonder whether there is a secret recipe to create a perfect song? Albums suffer the problem they have a lot of tracks and, invariably, some people will not like others as much as you do – can a record truly have enough strength to be called ‘perfect’?!

IN THIS PHOTO: Dagny/PHOTO CREDIT: Getty Images

I will come back to that but, when it comes to songs, maybe it is not all about memories, personal tastes and critical reviews. A lot of the music we hear now is geared towards platforms like Spotify and YouTube. I guess we need to define the parameters of a song and what to consider: some might say there is no science and feeling needed for such a discovery: it is about the feeling and sensation. That might be true but are there certain aspects present (in the very best songs) that new artists can learn from? Popstar Dagny conducted an interview last year and was asked whether there is such thing as a perfect Pop song:

“I’m not sure there is such thing as a “perfect pop song”. To me, being a melody girl, a good hook and a catchy melody are the foundation of a great song! And you got to get a feeling across, whether it’s joy, energy or melancholia”.

I think that is the problem with the modern mainstream: there is that need to get something instant and hooky-out; create a sense of fun and abandon. Big streaming figures and airplay is as much to do with accessibility and digestibility as it is depth and texture. I wonder whether the market has become so saturated and changed we will never hear a new song that rivals the biggest hits of yesteryear. To me, music is not only about memory and nostalgia: one can find perfection in the modern times, for sure...

A 'perfect song' would not be something that is loved and adored by every human that listens to it: something that has no discernable faults; can grow in the mind and stay in the heart – that, in truth, is all it takes. The last time I heard a song that did that to me – in terms of contemporary music – was, I guess, a few years ago now. It has been a long time since I heard a track that I was compelled to repeat and stays with me now. You can argue something semi-modern like Beyoncé’s Crazy in Love is a perfect song – it gets people dancing and has inspired cover versions – but that was released over a decade ago, now. I would argue there are songs that fit into my definition of ‘perfect’ but, for the most part, they are quite old. I will go on, but I wanted to bring in an article from Esquire - where they discussed the subject and what makes a ‘perfect song’.

 “Everybody knows a perfect song when they hear one, everybody has a list of perfect songs, and everybody's list of perfect songs is pretty much the same as everybody else's: "Amazing Grace." "You Are My Sunshine." "Hallelujah." "He Stopped Loving Her Today." "Summer Wind." "I'm So Lonesome I Could Cry." "Let's Stay Together." The rules are so well-known that there's even a perfect country song about the rules of perfect country songcraft, David Allan Coe's version of Steve Goodman and John Prine's "You Never Even Called Me by My Name," in which Goodman boasts that he's written a perfect country song, and Coe reminds him that "he hadn't said anything at all about Mama, or trains, or trucks, or prison, or getting drunk." What Coe's really doing, of course, is confirming what everybody already knows — that there's a formula for perfection, and the perfect song is the song that follows it and rises above it at the same time.

A perfect song, then, is a simple song. A perfect song begins with either a declarative sentence ("Well, he walked up to me and he asked me if I wanted to dance," as the Crystals sang in their perfect song of 1963, "Then He Kissed Me") or a direct address to the listener ("Hear that lonesome whip-poor-will," as Hank Williams sang in "I'm So Lonesome I Could Cry"). Whether it's a country song or a soul song, a perfect song follows classic pop-song structure and doesn't last very long. A perfect song tends to be cinematic as much as it is musical — "Wichita Lineman," which otherwise is a Kansas utility worker's complaint about having to work extra hours, is a perfect song because it functions as a short film about loneliness — and often shows up in movies. Most of all, though, a perfect song is a song you first heard on the radio, because — besides simplicity and yearning — the elements indispensable to all perfect songs are the elements of commonality, time, and fate. Subtract any of these and not only do you have a song that is suddenly less than perfect, you have the lot of the song aspiring to perfection in the age of MySpace and the iPod”.

I agree with a lot of what is said (above) but feel you can add a couple of other bullet-points into the list: a song that provokes some serious emotion and is adaptable to any mood, need and time. I will revisit the ‘against’ side of the argument before wrapping up - but I have been considering the songs, I feel, are beyond scrutiny.

The two songs, oddly, that are in those sacrosanct, God-like holes are Hallelujah (Jeff Buckley’s version) and Kate Bush’s Running Up That Hill (A Deal with God). Both artists have, I know, crafted songs that are considered fan-favourites but both are not so lucky they can rely on these songs alone to create a legacy – it is the fact these numbers, to me, stand above the rest. So, then…what is it about these numbers that are ‘perfect’ (to me, at least). The article I sourced (above) looks at the simplicity of a lyric or hook: something that gets into the soul without much fuss and drama. I feel Buckley’s cover of Hallelujah is more a sermon/rendition than an actual vocalisation. Leonard Cohen wrote the song for his 1984 album, Various Positions - but his version is a completely different beast (to Buckley’s). Cohen’s low-voiced, gravelled take is perfectly okay but Buckley’s reading is a transcendent and unearthly thing. He talks Cohen’s masterful words – Buckley considered his take to be a celebration of the orgasm – and brought every syllable to life. From that single, aching, breath at the very start; down to the impossibly soothing held note at the end: it is a rapturous, spine-tingling song that surpasses the original but could not have happened without the original. Cohen could never have performed the song as wondrously: Buckley could never have written lyrics as poetic and intriguing.  

There is something about Buckley’s vocal that stops you dead and forces you to experience the music – you cannot have it in the background or casually bond with the song. The vocal, to me, is perfect as it ranges a gamut of emotions and always drops the jaw. The lyrics are flawless and there is little compositional encroachment – arpeggio electric guitar is about all you get. Hallelujah is not a song to bring a smile to the face but it seems to reveal new meaning every time I hear it. Buckley’s version was recorded ten years after the Cohen original – for his only, and seminal, album, Grace – but has endured and continues to inspire artists now (the slew of inane cover versions have not dampened its magic). I come away from the song a better person; educated and calmed; baffled by its sheer grace (no pun intended!) and nuance. Similar reactions are provoked when I listened to Hounds of Love’s most-celebrated song. That evocative and epic introduction; the passionate vocals and the feeling I get when listening to the track – it is not my favourite Kate Bush song but is the one that summons something others don’t. There are common threads in both songs – a sense of beauty and the sublime; incredible vocal performances and words that have a sense of strange wisdom – but they are quite different-sounding.

They are, to me, perfect songs and I can find no fault in them. There are others who disagree and can find flaws: is it, then, still a case of the subjective taste of the listener?! I think there are songs that defy any criticism and (a song) need not be complex. There are many tracks that I would rate perfect but I can understand those who feel, in a lot of ways, a single moment of music cannot reach giddy heights. I am a little worried by the modern currency of disposable Pop songs that do what they need and then disappear. I know there are artists who craft incredible music and take a lot of time over their work: a lot of what is proffered and promoted in the mainstream lacks any real craft and skill. I guess it has been that way for a while but does that mean, years from now, we will struggle to name any songs from this decade that truly deserve the word ‘perfect’ put next to them. Is it all about personal definitions or is music so subjective, no matter what song you name, one can find flaws somewhere?! It is rare to discover but there are those tracks that do something profound and, when you look at them, cannot be faulted. Will we, in this decade, see a song that is perfect and flawless? Have we seen one (or more) already? It would be good to know…

WHAT people think about this subject.