FEATURE: The Grammy Awards Nominations: Are Music Award Ceremonies Still Relevant?

FEATURE:

 

The Grammy Awards Nominations:

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Paola Kudacki/GQ

Are Music Award Ceremonies Still Relevant?

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THE never-ending parade of music awards and…

ALL PHOTO CREDITS (unless stated otherwise): Getty Images

polls mean barely a month goes by where we are immune to the latest ‘big event’. In the next few weeks; we will get the nominations and shortlisted albums of 2017: earlier in the year, we had the Mercury Music Prize; various award ceremonies and festival announcements. It has been a busy and frenetic year for music but one that has sparked debate and controversy. We have, now, the nominations for the Grammy Awards. One of the biggest bugbears over recent years has been the ethnic breakdown and eclecticism of award shows.

There is always accusation these ceremonies are reserved for white, mainstream artists: it is not helped by the lack of fervency and change among the committees. Those charged with ordering nominations and selecting the panel are failing to notice how few black artists are being recognised. The issue not only limits itself to race. I find there has always been that dependence on Pop and Rock; recognising those who make waves in the charts – the YouTube/Spotify darlings who hold huge commercial sway. This is a problem that goes beyond award ceremonies and the like – we can see it crop up in every crevice and corner of the music industry. Call it racism or homogenisation: changes have to be made in order to create parity and a less discriminatory industry.

It is back to the Grammys and a breath of change in the wind. I shall provide my views, but here is how BBC summed up the nominations for the Grammys.

“Jay Z and Kendrick Lamar are the main contenders for the 60th annual Grammy Awards, leading a crop of nominations that is heavy on hip-hop and R&B but has left mainstream pop stars like Ed Sheeran and Lady Gaga out of the running for the major prizes.

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT:  Tiffany & Co

The awards will be announced at New York's Madison Square Garden on 28 January 2018, and will be screened on 4 Music the following evening”.

I will come and look at other standouts from the nominations but, in the question I posed at the top of this feature, are award ceremonies like the Grammys relevant and all-inclusive? This year’s greater incorporation of black artists has been a welcomed relief – should this have happened decades ago?! It should, of course, but at least there has been an understanding of a big issue that was going unaddressed. In the past twenty years, only two black artists have won the Grammys’ main prize, Album of the Year. Beck nabbed it from Beyoncé two years back (her superior, self-titled record was robbed) whereas Adele did the same earlier this year – few would argue she has a stronger record than Beyoncé. (Although her record, 25, was released in 2015: it went on to win the Grammy in 2017!).

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Paola Kudacki (TIME)

The illogical and narrow-minded viewpoint has had to expand and alter. Artists like Frank Ocean and Drake have withdrawn their albums from potential nomination – fearing cultural bias would count against them. Race is an issue that is making award ceremonies somewhat redundant and reductive. The indigenous whites-and-Pop-only sphere of the Grammys has been challenged and confronted. You cannot deliberately impose amendments and codification that mandates a percentage of the music included (in the nominations) has to be from black musicians – that would be pandering and less to do with positive discrimination.

IN THIS PHOTO: Adele

The problem is this: the facts speak for themselves in this matter. In 2016; Beyoncé’s Lemonade was the darling of the critical world; scoring universal acclaim and lauded as a career-high for the R&B inspiration – even Adele, in her Grammy acceptance speech, recognised the power and potency of Lemonade. Frank Ocean, Drake and Kendrick Lamar have featured high – from 2016/2017 – in the upper reaches of public/critical celebration. I know the Grammys are not the byword for popularity and common sense – they have always carried a certain sense of predictability and discrimination. It is good to see Rap and Hip-Hop being recognised – at last! – by an awards ceremony that has relied too heavily on white artists and commercial genres. The fact it has taken so many years for change (slight as it is) to come about means we need to look at the award ceremonies around the world and ask if they are muddying the waters.

IN THIS PHOTO: Taylor Swift

Awards are there to recognise the best from that year in music: critical nominations and reviews should, you’d think, mirror those selections. If critics are raving about Hip-Hop, Beyoncé and black artists then why would a major award ceremony turn its nose and ignore that?! Artists like Taylor Swift and Ed Sheeran – I will come to them soon – have always formed the basis of events like the Grammys. It seems like there is that need to bow to the big record labels and bosses. Maybe, if their prestigious and high-paid artists are not given the gong, then that would be a snub and tragic oversight. I can only imagine what happens behind-the-scenes when it comes to nominations and decisions – one feels there is a degree of chicanery and corruption. Looking at the British award shows (we have our share) and there is no less discrimination and controversy.

I looked at the Mercury Music Prize list and, although I am glad a talented black artist won the award, it seemed like this shift has, like the Grammys, come about after public pressure and a sobering wake-up call.  Sampha, J Hus and Loyle Carner were among the talented, black artists who put their stamp on R&B, Soul and Hip-Hop. I will address genre, soon, but I was aggrieved there were few female nominees; some odd, left-field selections (Ed Sheeran being nominated) were in there. I know award shows need to keep fresh and reflect the tastes of the general public.

IN THIS PHOTO: Jay-Z

If they do not evolve and remain fresh then they can be accused of being labelled ‘dinosaurs’ and stubborn. I agree with that point but change and development need to be aware of the nature of racism, sexism and rigidity.  I am humbled and pleased the top-nine most-nominated artists of 2018’s Grammys are non-white performers. Lorde is the only Pop artist to be included on the list. Melodrama is a phenomenal record and one that is caught in a quandary: if it loses, many will scratch their heads (as it gained huge applause); if it wins then it will make a mockery of the more-inclusive breakdown of this year’s nominations. Neil Portnow, the Chief Executive of the National Academy of Arts & Science – which runs the Grammys – provided his take on the shift towards recognising black artists: "…a really terrific reflection of the voting membership of the Academy".

IN THIS IMAGE: The album cover for Lorde's Melodrama

Striking the balance between racial equality and logic is hard to achieve, I admit. You cannot nominate artists because of the colour of their skin: you can definitely not exclude them for that same reason. This year sees Bruno Mars nominated for 24K Magic; Jay-Z for 4:44 and Kendrick’s DAMN. get a nod in the Album of the Year category – Lorde’s Melodrama is in the minority in terms of race and genre! There is no excuse for the baffling minority of black artists in previous years: the fact 2018’s main categories are much more pragmatic proves quality and depth is being favoured over commercialism and the Pop charts.

IN THIS PHOTO: Kendrick Lamar

In the past; I would say the bigger award ceremonies have been irrelevant and a waste of time – if they are not going to synchronise with critical reviews then it shows there is a split and lack of common sense in the industry. We have specialist music awards in the U.K. but there is still work to be done. Q’s annual award ceremony is still too focused on Pop and white artists; NME are a little stiff and unwavering when it comes to genres; the Mercury Music Prize is too London-centric. There are always going to be people disappointed and speaking out. It is a lack of consistency that troubles me most. All music awards should reflect quality and nothing else – regardless of genre, gender and race.

So many ceremonies have raised questions around exclusion and homogenisation; whether that be a lack of female faces or an overly-white outlook. The Grammy Awards have a long way to go until they regain a semblance of authority and balance but the nominations for next year’s hand-outs looks far brighter. Another of the notable discussion points – when looking at this year’s Grammy nominations – is the diminished role of Pop and Rock. Taylor Swift and Ed Sheeran are names one would normally see dominating award shows elsewhere. They have missed out on all the major categories and, with it, given the focus to other genres...

IN THIS PHOTO: Ed Sheeran

Despite the fact there are plenty of categories on offer – a musical Oscars, it seems – there is a shift is tastes, it appears. I have mooted whether music awards are true to the tastes of the public and what importance they hold. Whilst I argue having a Grammy, Brit or MOBO (less so with this one) does not make you better than anyone else out there – and can often be the result of record labels and corporations ensuring their best-paid acts are happy – I think the step forward for the Grammys should be the start of things to come. In the past, I would have argued that such a high-profile award show, in the way it limits its scope and promotes those acts with a greater commercial appeal, are worthless.

This year (2018, in terms of the prize-giving), where they are going for quality, it seems the penny has dropped. Not only are the best and most celebrated records given their due; there are more black artists nominated. With a positive shift towards Hip-Hop/Rap and black artists sees other issues arise. Some have commented how Rock has been ignored, to an extent. Big players like Queens of the Stone Age have not featured heavily but that is more to do with the lack of big Rock bands this year – not really producing albums to challenge the best out there. There are sub-categories that cater to most genres - so it is not as though people will miss out.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Andrew Whitton

At least one Country performer is recognised in their best album of the year sector: for 2018’s Grammy, there is no Country album in the main categories. Again, one must make way for other genres to take their place. There has to be a cut-off but I think other award shows should take guidance from the Grammys. Pitchfork raised an issue about the lack of women nominated this year:

“The Big Four are the guts and glory of the Grammys, and everyone knows it. But only a fifth of the nominations across those categories this year go to female artists: Lorde, Julia Michaels, SZA, and Alessia Cara. It is true that 2017 has been a truly rough one for women on the charts, and it’s hard to expect more from the Grammys than glorified chart watching. But couldn’t y’all have at least slipped “Bodak Yellow,” the year’s record smasher of a hit, into the Big Four? SZA’s spectacular debut CTRL for the album nod?

That said, it seems like Lorde has a real chance for the AOTY win, just in terms of voting politics. The Grammys love a wunderkind. Four of the last 10 AOTY winners have been young, white pop singer-songwriters mining matters of the heart and the self. And the two strongest competitors—Kendrick and JAY-Z—could split votes that sway hip-hop. (Plus, you know, Melodrama is a good album.)”.

They noted a few discrepancies in categories where The War on Drugs was in the Rock album section – strange for a band not renowned for their grittiness and strings – whereas The National are scrapping it out in the Alternative list. Popular chart acts are being relegated whilst there are some notable omissions in terms of Rock albums – some lesser-known artists, who released minor L.P.s, given the nod instead.

IN THIS PHOTO: Cardi B

Rolling Stone highlighted the rise of R&B and how it is replacing the hegemony of Pop:

“This summer, Nielsen published a report demonstrating that hip-hop and R&B had passed rock as the most-consumed music in America for the first time, largely due to streaming. That appears to have gotten Grammy voters' attention, as least for now: The most prestigious Grammy categories (Song/Record/Album of the Year) were dominated by streaming success stories, whether it was Luis Fonsi and Daddy Yankee's "Despacito" (over 4 billion views on YouTube) or Childish Gambino's "Redbone" (338 million streams on Spotify). The only exception to the rule in the major cross-genre categories was Lorde's Melodrama, which was not a massive streaming success”.

IN THIS PHOTO: The War on Drugs

There are still cracks to address when it comes to the categories and demographics of the Grammy nominations. If the sudden decline of Pop and Rock means the predicted artists are without kudos and spotlight; that might be a reaction to the need for more black artists having their music featured. Even if Taylor Swift, and Reputation, gathered big reviews;  it seems there is that desire to move from the mainstream Popstars, who have always dominated, and towards artists usually ignored. One can question the worth and value of an award like a Grammy but a lot of reservation and dubious tutting has arrived from the underwhelming artists featured and the lack of certain genres/races featured – and the endless categories, I guess! I feel the Grammys, as the biggest award ceremony in music, needs to set an example. One of the reasons many other awards lack substance is because of the quality/balance issue – putting charts and Popstars above the genuinely great and acclaimed.

The Grammys have shown favour to artists who have accrued huge streaming figures (on Spotify) but I look at albums by Kendrick Lamar and Jay-Z and they address the state of modern America. In a time of ‘fake news’ and President Trump’s endless reign of idiocy: it seems the importance of truth-telling artists from Hip-Hop are being given a platform. That need for a truthful, straight-talking musical presidency is one that reflects the public and critics’ desires. There is a lot more to pore over with regards the Grammys and whether enough is being done - but one of the best ways for them to salvage a semblance of respect and standing was to turn away from the white Pop market and towards Hip-Hop. It is a long time coming but I feel, if this is a sign of what is to come; it is a hugely important step towards…

IN THIS PHOTO: The most-nominated woman in this year's Grammys rundown, SZA/PHOTO CREDIT: Mambu Bayoh

MAKING music award shows inspiring and vital.

FEATURE: Stocking Thrillers: Great Gifts for Music Lovers

FEATURE:

 

Stocking Thrillers:

 PHOTO CREDIT: Iconica

Great Gifts for Music Lovers

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IT can’t just be the men…

who will leave things to the last moment! The traditional mentality to panic-buy and wait until Christmas Eve results in some rather questionable and thoughtless gift. Music lovers demand presents a little more personal, impressive and appropriate. With that in mind; a collection of confections – various-prized gifts – that will satisfy your music-obsessed friend/family member.

There should be, in this stuffed and stocked list, something that tickles the fancy; a present that would be perfect for a music fan in your life – and, with a few weeks remaining – plenty of time to get your order in!

IMAGE/PHOTO CREDITS (unless stated otherwise): Getty Images

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A U.S.B. Mix-Tape

Still here are the days when romance can be measured by a mixtape! It is a great gift for music fans that prefer their sounds/technology a little older and vintage – the look of a cassette with the attached dongle. It looks great and means you can put their favourite sounds on to the memory stick; hand it over and watch their eyes light – or let them choose their own tracks.

Buy: https://www.etsy.com/uk/listing/261927693/4gb8gb16gb-usb-mixtape-retro?ref=listing-shop-header-2

Sia -  Everyday is Christmas

The Australian Popstar departs from her confidence and electric songwriter to something tenderer and Christmas-flavoured. Written with Greg Kurstin; this is a collection of modern Christmas songs that are guaranteed to warm the cockles and get the family singing – and are actually pretty decent songs for those who dislike the cheese of Christmas tracks.

Buy: https://itunes.apple.com/us/album/everyday-is-christmas/1299289839

Music-Themed Chocolate Bars

The Balance says it best: “When you're starting a food business, you can start out with a plan to either appeal to as many people as possible. Or, you can decide to focus in on a group of people to create products that also, perhaps, tie into your own interests or dietary needs. Within one year, several candy businesses caught my eye as it turned out they were all targeted to the same type of consumer: music and entertainment lovers seeking fun gifts”.

Buy: https://www.thebalance.com/chocolate-gifts-for-music-lovers-1326118

Spire Studio Portable Recording Studio

It is a pricey one for the stocking but a sure-fire winner for any serious musician and producer. It is available via U.K. sites – and should arrive from the U.K. in time for Christmas – and is an all-in-one studio for those who prefer convenience and affordability. As Spire put it: “Record studio-quality sound without the hassle of cables. Instantly edit, mix, and share your recorded songs via a built-in Wi-Fi connection between Spire Studio and the free, Spire app for iOS. Whether capturing a moment of inspiration or collaboration with bandmates, Spire delivers a new kind of recording experience”.

Buy: https://www.spire.live/en/spire-studio.html

Personalised Song Lyric Print

Surprise the music-lover in your life with a framed and personalised print. You can capture their favourite song lyrics in a gift that is sure to give them satisfaction. Whether they are a Rock or Pop fan; you can give them something that is meaningful and special to them.

Buy: https://www.thedriftingbear.com/products/personalised-song-lyrics-print?variant=18419060548

Roli Seaboard Block

It is a perfect and lightweight keyboard for those who want to create quick and easy sounds on-the-go – or those who want to sit at home and craft something. The manufacturers say: “Create astonishingly expressive music on a portable, super-powered keyboard. Touch and shape your sound on Seaboard Block's soft, pressure-responsive musical surface. Play a powerful standalone instrument — and extend its power by connecting to other Blocks”.

Buy: https://roli.com/products/blocks/seaboard-block

The Beatles Anthology (Hardback or Softback)

They sang about paperback writers – can’t remember which song it was! – and, here, you can discover how the band got together and why their music creates a timeless joy! It is filled with fantastic and never-seen-before photos and, although the book is a few years old, its relevance and place will never date. I am ordering it for Christmas and feel like it is an essential purchase for fans of The Beatles – and those discovering them for the first time.

Buy: https://www.amazon.co.uk/Beatles-Anthology/dp/0811826848/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=1512220345&sr=8-4

Fender Monterey Bluetooth Speaker

Another pricey gift but a high-end speaker that delivers exceptional performance. GAK provided their capsule review of the product: “Powerful and packed with music-friendly features, the Monterey Bluetooth Speaker makes it easy to bring Fender’s classic stage-ready style, performance and sound to your home, office or dorm room. Designed in Southern California, with a look inspired by our classic amplifiers, the Monterey brings Fender’s famously clear sound to streaming music and phone calls. The Monterey channels 120W of power into a pristine quad-driver system; two woofers and two tweeters are precisely matched to”.

Buy: http://www.richtonemusic.co.uk/products/fender_monterey_bluetooth_speaker.asp?gclid=CjwKCAiAu4nRBRBKEiwANms5W_m5q9-jjosluV9QT8keLmjJRvTlGkOnu25sQqR3HuZjc3GXhKy-xhoCCnUQAvD_BwE

StuHub Gift Card

IMAGE CREDIT: @StubHub

This is a nice, easy gift for those who love their gigs. It works like any gift card and can be pre-loaded with various denominations. It is hard affording gigs these days so this is a nice option for anyone who has plans for next year’s big gigs – and needs that financial help to make it a reality.

Buy: https://www.stubhub.com/gift-cards/

FiiO X1-II Media Player

This is how Headphone.com sees this incredible piece of technology: “The newly updated - and extremely affordable - high resolution digital media player FiiO X1-II has arrived at headphone.com. This 'second generation' X1-II player / DAP from FiiO now includes awesome wireless Bluetooth 4.0 connectivity, a tidy touch scroll wheel, improved DAC and headphone amp circuitry plus a cool new look with streamlined navigation and design improvements”.

Buy: https://www.headphone.com/products/fiio-x1-ii-media-player

Personalised Headphone Stand by MijMoj Design

This is something I could do with! Make sure your headphones are given a comfortable place to rest this Christmas! Not only that but you can have this stand personalised – either a great gift for a music fan you know; perhaps it is something you want to treat yourself to!

Buy: https://www.notonthehighstreet.com/mijmoj/product/personalised-headphone-stand

Wax & Stamp Subscription

This is a brilliant idea for anyone looking to get their vinyl-lover a great gift. Why is this such a sought-after gift, then? “Set up by two friends, Wax & Stamp is a real labour of love. Two records will land on your doorstep each month- one chosen by Wax & Stamp and the other by a guest selector (think DJs, record label heads and artists). By the end of the year you’ll have 24 new releases to add to your record collection. Their focus is on new music, so if you’re looking for a classic, this probably isn’t the answer. However, if you want to keep abreast of the latest news in music but find the choice overwhelming, this will give you a helping hand”.

Buy/Register: http://www.waxandstamp.com/

David Bowie - A New Career in a New Town

Keep the master close to your heart with this fantastic gift. This is how Rolling Stone sees it: “No period in David Bowie's career is more curious than the trilogy of albums he recorded in the late Seventies while living in Berlin's artsy Schöneberg district. They're defiantly uncommercial, stacking soundtrack-y, atmospheric soundscapes alongside pop songs, and they're bizarrely endearing – "The hin-ter-land, the hin-ter-land/We're gonna sail to the hinterland," goes one catchy-yet-strange passage in Lodger's "Red Sails." Stranger yet maybe, this era produced one of his most enduring hits, the anthemic "Heroes," which has been covered by everyone from Oasis to Peter Gabriel and Janelle Monáe. The period, defined by Bowie's collaborations with Brian Eno, was so far-out (even for the former spaceman) that it frustrated his record label and caused a slight dip in his popularity (all of his albums from this period have yet to be certified even gold), though the tales of Bowie's drug-and-alcohol-fueled romps with Iggy Pop and musical experimentation at the time have become the subject of multiple books. Now a new box set, A New Career in a New Town (1977 – 1982), is offering a freshly polished look at the time. It contains 1977's brilliant and sprawling Low and "Heroes" LPs, 1978's live outing Stage, 1979's avant-rock experiment Lodger and 1980's only slightly poppier Scary Monsters (and Super Creeps), the last of which, recorded in New York, was intended as a return to commercialism, though it still reads like fractured pop”.

Buy: https://www.amazon.co.uk/New-Career-Town-1977-1982/dp/B073NXBYP6

Chromecast Audi

You can easily cast music to your speakers and enjoy music without interruption; it is compatible with Android, Windows and iOS and means you can listen to your favourite tracks wherever you go

Buy: https://www.currys.co.uk/gbuk/tv-and-home-entertainment/digital-and-smart-tv/smart-tv/google-chromecast-audio-10137628-pdt.html

Numark PT01 Touring Vintage Suitcase Turntable

This is a nice and well-priced turntable that should be top of the Christmas list! The manufacturers list it like this: “The Numark PT Touring turntable is a classically-styled suitcase unit that recalls the popular portable turntables from the past. PT Touring has a rugged case with a handle so you can carry it anywhere. It plays all your 33 1/3, 45 and 78 RPM records, comes with a 45 RPM adapter, and it has built-in stereo speakers for convenient listening without needing to connect external speakers. In addition, it has RCA outputs for simple connection to home audio equipment and a convenient Auto-Stop feature kicks in when it reaches the end of the record. Plus with its USB port, included USB cable and downloadable EZ Vinyl/Tape Converter software, converting analog records into digital files for archiving on your computer is a snap. PT Touring far surpasses the old suitcase turntables in versatility, however. It can also operate on its own built-in rechargeable battery—which means you can enjoy your records even if you’re not near a wall plug”.

Buy: https://www.amazon.co.uk/Numark-PT01-Touring-Headphones-Conversion/dp/B015FJZZZA

Musician Tree Ornmanets

This is an American site but, if you think the tree is lacking that certain something; get onto their site and order your favourite musicians in decoration-form! These ornaments will make you the envy of all your mates – and lend your festive tree a special look and swagger.

Buy: http://www.mlinehamart.com/

A Classic Band Poster

A vintage poster of your loved one's favourite band is a thoughtful gift and one that will live with them forever. As we get more and more involved with the digital tide: it is nice to have a retro slice of music heritage hanging on the wall!

Buy: https://www.classicposters.com/

Personalised Favourite Song Lyric Soundwave Print

This is another great gift – like the personalised lyric one – that allows a single moment of music to be captured in a frame. It can be your choice moment from that favourite song – a gift that shows thought and will be appreciated and enjoyed by the music-lover in your life.

Buy: https://www.soundviz.com/?gclid=CjwKCAiAu4nRBRBKEiwANms5W8h5cN2Nfn0cZNy6LQmEkip5frAuIEdOcW0SqnW0iEwCgnZPzQm9lxoCJ-sQAvD_BwE

Amazon Echo Dot

Trusted Reviews tells you why you need this in your life:  “AI assistants are the future, and every home ought to have one right now. They are capable of making your life so much easier, and al you need is to speak out commands and ask for basic information. No longer do you need to take out your smartphone just to perform basic tasks. Right now in the UK, the Amazon Echo is the closest we get to this without stepping into Terminator territory. The only problem with the Echo is that it will prove a little too big and expensive for some. Enter the Amazon Echo Dot – a smaller and more affordable alternative. The Echo Dot offers almost everything the larger Echo does, but for a third of the price. It also adds some crucial features such as Bluetooth and 3.5mm output, which weren’t available before”.

Buy: http://www.argos.co.uk/product/6349693

Public Enemy Action Figures

What do you mean you don’t need Public Enemy action figures?! Even if you are not a fan of the legendary Hip-Hop crew, this is a seriously original idea! Have Chuck D and crew in your life always with this stunning set of figures – with the members of Public Enemy looking at you from the shelf. This is a gift that could gain value in years to come – but you won’t want to leave them in the box, that’s for certain!

Buy: https://www.amazon.com/Public-Enemy-Action-Figure-Set/dp/B01G1LRE9G

A Band T-Shirt

If you want an easy gift that you know you’ll get right; there are plenty of websites out there that can deliver great band T-shirts at a good price. It is worth browsing but (the T-shirt) is always a good and durable present for the serious, die-hard music fan!

Buy: https://www.emp.co.uk/band-merch/t-shirts/?wt_mc=sea.google.nonbrand.emp_uk_generics_band_shirts.46319090565.band%20t%20shirts.e.c&adc=uk&gclid=CjwKCAiAu4nRBRBKEiwANms5WyV6ugiGLRPpNKcnkFVqROHAp30CBVDsL15TPfGfyUeT0roghAxv9RoCJO0QAvD_BwE

Gwen Stefani - You Make It Feel Like Christmas

The Voice coach and sometimes No Doubt frontwoman was inspired to write a seasonal song while visiting boyfriend Blake Shelton’s Oklahoma ranch. That initial inspiration soon snowballed into a full-fledged holiday album; featuring six originals and six covers of Christmas classics.

Buy: https://www.amazon.co.uk/You-Make-Feel-Like-Christmas/dp/B075MYGCG3/ref=sr_1_1?ie=UTF8&qid=1512222809&sr=8-1&keywords=Gwen+Stefani+-+You+Make+It+Feel+Like+Christmas

The Queen Is Dead (Deluxe Remaster)

The iconic Manchester band has reissued their classic L.P. with fully-restored version of The Queen Is Dead as well as a number of B-sides and rarities. It also comes with a previously-unreleased live album, recorded in Boston in August 1986 - and a D.V.D. featuring Derek Jarman’s The Queen Is Dead film.

Buy: https://www.amazon.co.uk/Queen-Dead-2017-Master-Deluxe/dp/B073ZBHG1R

Smokey Robinson - Christmas Everyday

This fantastic set from the Miracle man is an Amazon exclusive, featuring three originals; including the title track - which he first recorded way back in 1963 on Christmas With the Miracles. Covers include Robinson’s take on Donny Hathaway’s This Christmas.

Buy: https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_19?url=search-alias%3Daps&field-keywords=smokey+robinson+christmas+everyday&sprefix=smokey+robinson+chr%2Caps%2C148&crid=2VBCNO0O6ROTL

Nonda Zus HD Car Music Adapter

FM, 3.5mm AUX cable and Bluetooth connection to support all car types; regardless of year, make or model...Make and answer calls hands-free to ensure your safety while driving...Sleek, modern design to fit any car interior.

Buy: https://www.nonda.co/products/all-compatible-hd-music-adapter

Audioquest Dragonfly

On their website; Audioquest explain why this is such a popular choice: “Launched in 2012, press and public alike have enthusiastically embraced AudioQuest’s multi-award-winning DragonFly USB digital-to-analog converter/preamp/headphone amp as the rare audio product that bridges the gap between die-hard audiophiles and mainstream music lovers. DragonFly plugs into a computer’s USB port to bypass the computer’s compromised audio circuitry and deliver cleaner, clearer, more naturally beautiful sound to headphones, powered speakers, and complete audio systems. Small, affordable, easy to use, and remarkably effective, DragonFly was named Stereophile’s 2012 “Computer Audio Component of the Year” and 2012 “Budget Component of the Year;” Tone Audio’s 2012 “Digital Product of the Year;” Computer Audiophile’s 2012 “Computer Audiophile Product of the Year;” AudioStream’s “Greatest Bits;” and What Hi-Fi?’s 2014 “Product of the Year.” Perhaps most memorably, DigitalAudioReview.net’s John Darko quipped: “A DAC with the DragonFly’s performance at the DragonFly’s price point is as rare as rocking horse sh*t.” We couldn’t have said it better”.

Buy: https://www.amazon.co.uk/s/?ie=UTF8&keywords=audioquest+dragonfly+black&tag=googhydr-21&index=aps&hvadid=223847239824&hvpos=1t1&hvnetw=g&hvrand=1270551994944676627&hvpone=&hvptwo=&hvqmt=b&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045828&hvtargid=kwd-296947453403&ref=pd_sl_351xelfizz_b_p28

Steepletone Bluetooth Brighton Cream/Beige Retro 1950s-style 3-Band Portable Radio

This is how the product is described: “EW AND EXCLUSIVE BLUETOOTH VERSION OF THIS EVER POPULAR CLASSIC. Steepletone Brighton 1950's Portable Bluetooth Retro Style Rotary Radio Manufacturer's Description Reminding us of the stylish and much adored radios from the 1950's and 1960's the Steepletone Brighton 3 band retro radio manages to capture the romance and familiarity of yesteryear whilst still giving top quality performance that you would expect from today's radio players. Sounding simply superb the Steepletone Brighton retro radio receives FM, MW and LW (long wave is great for picking up the cricket and the BBC world service), and can be powered via the mains electric (power lead supplied), or for portable use by using 6 x 'C' size batteries (available separately) Further features of the Steepletone Brighton retro radio include: Strong and stylish carrying handle, rotary on/off/volume control, rotary tone control for bass and treble, direct tuning, easy to read dial scale with rotary tuning, push button band selection, beige plastic finish, built in ferrite antenna for MW and LW bands and telescopic aerial for FM (4-section/50cm long). The Steepletone Brighton retro radio also comes with a 1 year warranty”.

Buy: https://www.amazon.co.uk/Steepletone-Bluetooth-Dial-Latest-wirelessly-Smartphones-Cream-Connectivity/dp/B018PQ6EIW/ref=sr_1_1?ie=UTF8&qid=1512223603&sr=8-1&keywords=retro+radio

The Beatles - The Christmas Records

This is another fantastic Beatles-related gift and one that is appropriate for this time of the year. The press-release assesses it in these terms: “During the height of Beatlemania, from 1963 through 1969, the Fab Four recorded and released holiday messages and songs on flexi-discs for their loyal fanclub members. Those rarities are now being widely released for the first time as a boxed set of colored vinyl singles in sleeves with the original flexi-disc artwork along with a 16-page booklet featuring notes on the recordings and reprints of the band’s National Newsletters, which were sent out to fanclub members with the holiday flex-discs. Note: Four out of six of the singles are one-sided. This is more of a collectors’ piece than a traditional Christmas album”.  

Buy: https://store.hmv.com/music/vinyl/the-christmas-records?gclid=CjwKCAiAu4nRBRBKEiwANms5W9MkMhABULNhbjGn8QPO8knj4ADPvcj1EzISp1-22VuBBlRU97VhTRoCoHcQAvD_BwE&gclsrc=aw.ds

Focusrite iTrack Pocket

It’s as simple as connecting your phone, opening the app and hitting record! You can use the built-in microphone for vocals and acoustic guitar or hook up your electric guitar or line level instrument via the input jack. High-quality audio, effects and instant mastering – you’ll be a YouTube star. Capture your performances with a high-quality stereo microphone that fits in your pocket...KeepiTrack Pocket on you, take it anywhere and connect your phone every time you have a great idea...Record straight into Garage Band, iOS Camera App; iMovie, Rode Rec; Loopy HD and Tape.

Buy: https://www.gear4music.com/Recording-and-Computers/Focusrite-iTrack-Pocket/13CV

Astell & Kern AK70

The AK70 is Astell & Kern’s latest portable Hi-Res Audio player. It sits just above the company’s entry-level AK Jr, although entry to A&K’s post-iPod audiophile world costs just shy of £400 and the AK70 is priced at a not-inconsiderable £500. It is a great investment and terrific piece of technology that is worth the money – even as a Christmas gift!

Buy: https://www.richersounds.com/astell-kern-ak70-mint-green.html

R.E.M. - Automatic for the People (25th Anniversary Deluxe Edition)

Consequence of Sound were excited when this set was announced: “The Automatic re-release features the record freshly mixed by original producer Scott Litt and engineer Clif Norrellin in the brand new Dolby Atmos format. This is the first time Atmos has been used to mix commercially available music, and the new tech promises to “[transport] the listener inside the recording studio with multi-dimensional audio.” The four-disc Deluxe Edition includes a bonus disc of 20 never-before-heard demos from the recording session, including the previously shared mythical lost track “Devil Rides Backwards” and the unreleased recording “Mike’s Pop Song”.

Buy: https://www.amazon.co.uk/Automatic-People-25th-Anniversary-M/dp/B075K343CP

FEATURE: Bonnie and the Clyde: The St. Andrew’s Day Playlist

FEATURE:

 

Bonnie and the Clyde:

 PHOTO CREDIT: Getty Images

The St. Andrew’s Day Playlist

___________

PERHAPS doing a pun about notorious…

IN THIS PHOTO: CHVRCHES/PHOTO CREDIT: Getty Images

and ill-fated criminals is not the most logical way to endear myself to the nation of Scotland! Regardless; it is St. Andrew’s Day and, thinking of Scotland, it brings me to the musicians from the country. I feel Scotland gets overlooked when it comes to attention and focus. I think England - London especially - is the centre of attention and takes most of the spotlight. I realise Scotland is a long way away - but that does not mean it should be out of the critical gaze! Over the past couple of years; there have been some fantastic Scottish artists emerging: it is quite disappointing having to find these acts through websites and chance. One would hope there’d be a more proactive and concentrated method of promotion. The Scottish artists making waves right now have the potential to be big-league stars very soon. I am concerned there is not enough focus on them as it stands – meaning they have to graft a lot harder than most…

IN THIS PHOTO: Honeyblood/PHOTO CREDIT: Getty Images

If one looks at historical subjects from the nation; there is a banquet and bouquet of world-class music. The first song I ever heard (Everybody Wants to Rule the World) was from a Scottish act (Tears for Fears). It is a nation that has been with my since my childhood – celebrating and recognising their music is essential and much-warranted. Today is a day designed to recognise a Scottish saint but, more importantly, the importance and wonder of Scotland. From my perspective; the fantastic music that has always been bubbling in Scotland deserves exposure! I have mentioned how the media is a little slack when highlighting all the brilliant artists there. Maybe that (comparative) negligence spurs the Scottish creatives to define their own path and show little concerns for the rigidity and fabrication of the mainstream. It is the natural characteristics and perspective – from artists of Scotland – that makes me pine for their music. If many of the best acts from here are locating to other cities: it does not mean they are all emigrating to the South of the U.K. I want to expand on this theme and, time-permitting, write a feature on all the fantastic Scottish music right now...

IN THIS PHOTO: Monkoora/PHOTO CREDIT: Getty Images

Another aspect of Scotland that gets into my heart is the personality and humanity of the people. They have that bonhomie and brightness – unless they are a grump cu*t...in which case, they do not really fit into the model – and swim into the heart. The honesty, integrity and friendliness mean more people should be aware of the Scottish music scene – and the people themselves. I realise few celebrate their national days – the English not too worried about St. Andrew’s Day; the English not fixated on St. David’s Day (there is a pattern emerging!). I hope, in 2018, this is a national resolution we all stick to (paying attention to Scotland more). I have never been to Scotland but have heard wonderful things. Everyone I know who has gone there has come away with the same impression: it is a wonderful and awe-inspiring nation whose nature, people and culture seduce and drops the jaw. All of this considered, combined with the incredible music, makes me wonder why there is an absence of mainstream media coverage. Those classic acts are not the only reason Scotland has a proud and dignified musical legacy!

IN THIS PHOTO: TeenCanteen/PHOTO CREDIT: Getty Images

With that in mind, as it is St. Andrew’s Day, a collection of fantastic songs from Scottish artists, past and present. This list contains those icons and epic songwriters we have all come to treasure –including Mogwai and Tears for Fears – and the newer breed emerging – Monkoora, TeenCanteen and Honeyblood among them. It is a varied and eclectic list that spans genres, cities and styles. It should be enough to slake the thirstiest and most curious music-lovers around. I, in the course of writing this, have stumbled upon artists I was not aware of - artists I will stick with and chase down. Not to return to my earlier point/rant, but I feel the media is missing out on so much treasure! Not to obsesses over issues like this so, stepping away, let us investigate a long and fantastic list of Scottish music – from artists who started their careers there; others who are coming through and taking advantage of the phenomenal venues and crowds. Get the headphones on, read up about St. Andrew; immerse your senses in the smells, horizons and sounds of Scotland. It is a playlist that proves…

PHOTO CREDIT: Getty Images

WHAT a breadth of talent the nation has.

FEATURE: Into the Deep: The Blue Planet II-Themed Playlist

FEATURE:

 

Into the Deep:

 PHOTO CREDIT: BBC/Getty Images

The Blue Planet II-Themed Playlist

____________

MILLIONS of us have marvelled at the latest…

IN THIS PHOTO: Sir David Attenborough/PHOTO CREDIT: Getty Images/Press

Sir David Attenborough-narrated documentary, Blue Planet II. Most of us – I would think all, in fact! – will never get the chance to see, with our own eyes, the kind of scenes that were filmed for the show! One might imagine watching the marvels and unpredictable majesty of the oceans, seen through a T.V., would lack a certain naturalness and wonder. Whether it was the cinematography or Attenborough’s narration: it is as though we were diving and swimming alongside the cameras; watching the curious ocean-life as they went about their business. Radiohead and Hans Zimmer collaborated on the five-minute trailer for Blue Planet II – an intriguing and cinematic score that articulated the awe and captivation of the deep blue.

There has been so much to take from the show. None of us could quite comprehend the endless majesty and mystique of the sea. Not only has Hans Zimmer, Jacob Shea and David Fleming – for the soundtrack to Blue Planet II – given us scores and symphonies for each creature/occasion: the stunning images and narration provides the listener with the chance to score their own soundtrack. I was awed and hushed by solemn scenes of fish aimlessly seeking the beds of the oceans; predators hiding and nuzzling in coral; schools of fish in a balletic, perfectly choreographed storm; cute turtles lazily swooning in the cool; strange and wonderful sights that remain in the mind forever! It has been a tremendous series – we all hope there will be a third instalment down the line. There is something about Sir David Attenborough’s voice and passion of the natural world that means everything that comes from his mouth is urgent and meaningful!

 PHOTO CREDIT: BBC/Getty Images

To mark the triumphant and much-admired Attenborough show; I have compiled an ocean/sea creature-inspired playlist. Some of the songs are symphonic and graceful; others have appropriate titles – some are just plain silly! I have trawled the ocean of music (sorry!) to find all kind of sound and sensations; songs that, through name or origins, remind you of the water – and the array of fascinating bodies who frolic beneath. It has been fun but the most evocative and memorable pieces of music are the ones from the Blue Planet II soundtrack itself – you do not need to watch the show to imagine the beauty the music summons. Of course; you should revisit all the previous episodes and remind yourself why the show is drawing such praise! In this playlist, alongside the Radiohead/Hans Zimmer collaboration: enjoy an oceanic smorgasbord of Blue Planet II-inspired songs…

 PHOTO CREDIT: BBC/Getty Images

AND slowly drift away.

FEATURE: Writer’s Block: Why Hip-Hop’s Early Incarnation Deserves Fonder Reinvestigation

FEATURE:

 

Writer’s Block:

 PHOTO CREDITS: Getty Images/Press 

Why Hip-Hop’s Early Incarnation Deserves Fonder Reinvestigation

___________

I have been getting stuck into new music with...

fervency the past few months - and have found some great bands/acts I feel will do great in 2018. One of the things I am noticing is how many new artists are looking back and taking influence from previous years! This might include a Pop/Electro act sourcing from 1980s artists like Madonna and Prince; a modern Rock artist inspired by the muscle and swagger of Led Zeppelin. I am not one prone to endless nostalgia and contemplation but I am interesting seeing how the past is such an integral part of the present. Pop music, for all its shine and polish, sounds utterly infectious when it has bygone D.N.A. and classic strands. It is no coincidence my favourite two albums of the year, Lorde’s Melodrama and Kendrick Lamar’s DAMN. find strength and clarity in the arms of music’s better days. Lorde, claiming the top spot in my heart, has crafted a masterpiece in Melodrama. It is her second album and one that manages to muse on heartbreak and tough times - but do so with a lot of colour, variation and musical exploitation.

IN THIS PHOTO: Kendrick Lamar

I am in love with the album and admire how the young Lorde has sprinkled elements of the 1980s and 1990s into a modern and progressive work. The same can be said of Lamar and his latest piece of genius. Maybe To Pimp a Butterfly (2015) was a more vibrant affiliation with past Hip-Hop past ventures but I can see a lot of older sounds in DAMN., too. The record has been lauded by critics and demonstrates what a sensational human Kendrick Lamar is. He is one of the few mesmeric Hip-Hop artists that have found their way into my soul. My opinion is Pop/Rock is stronger when matching modern and of-the-moment sounds with the finest from the past: Hip-Hop transcends and stuns when (artists) interweave the glorious past with the urgent modern. I feel too many artists in the genre are neglecting some of the finer days and the sort of possibilities that can arrive from experimentation.

Kendrick Lamar is an exception, I find. If Grime and Rap has a few masters (female and male) and a lot of potential hopefuls: Hip-Hop is in a state of 9-1-1 (to quote an Eminem lyric). One problem I have found is how many newer artists in the genre are losing focus right from the off. So many songs are bringing endless collaborators and that, for all the good intentions in the world, is distilling the song and crowding it out. If a Rock song had four of five guest vocalists on it; that would put off the listeners and cause them to go elsewhere. It seems almost required for the hottest new Hip-Hop star to pen a tune and sling a host of bodies into the mix. Whilst I am delighted there are new Hip-Hop/Rap treasures like Princess Nokia emerging and amazing the senses; her best work makes one think of the glory days of the genres. ABCs of New York integrates bits of Lauryn Hill in parts; the song reminds me of the 1990s and the artists emerging during that period - a dazzling and instant smash for a hot young artist.

IN THIS PHOTO: Princess Nokia

I feel Princess Nokia will have a long and prosperous career. She is an artist with a singular mind and forging her own path through music. Away from her – and some other like-minded, talented peers – there is not a huge amount to recommend. I have written about the logistics and legalities when it comes to sampling music and creating songs that weave a variety of songs together. I have been revisiting the best days of Rap and Hip-Hop and the likes of De La Soul, Beastie Boys and Public Enemy. I adore the ‘Flower Age’ De La Soul and how they managed to pen incredibly engaging and mind-blowing songs without profanity and rampant sexism. I guess that period (the late-1980s) still contained sexism and offence – I like to think there was a greater degree of purity and purpose back then – but I listen to an album like 3 Feet High and Rising and marvel at the way the U.S. band broke grown and created something pioneering.

It was one of the first Hip-Hop/Rap albums that fused comedic skits and lighter tones with exceptional production and sampling. One need only listen to songs like Potholes in My Lawn, Eye Know; Me, Myself and I and The Magic Number and see the list of (other) songs featured within. Maybe I am bathing in the warm waters of nostalgia but I wonder why modern Hip-Hop is defined by polished productions and a rather direct and unabashed energy. I feel De La Soul’s greatest work is not a product of the 1980s – it was released in 1989 and inspired artists who would add an incredible footprint to the 1990s. I listen to that record and laugh at skits and brief turns; admire the fact there are twenty-four songs and the album was too long to put on vinyl – maybe there was self-indulgence in parts but it showed how passionate and determined the band were to make history!

The same can be said of an album like Beastie Boys’ Paul’s Boutique. That record arrived in the same year (as 3 Feet High and Rising) and, when it arrived, found critics miffed and confused. Many were unsure whether the sample-heavy L.P. was career-suicide for the New York legends. Of course; time has proved them wrong and that album is seen as one of the finest of the 1980s. Again; there was a mix of comedy and incredible spits; fine rhymes and incredible energy. I guess there is a bit of a difference between Beastie Boys and De La Soul. The latter were seen as hippies and a product of the 1960s – their records were a mellow and soothing affair; offence and trouble were not on their mind, Beastie Boys were a more expressive and fired-up band but they rarely relied on shock and crudeness to make their point. The heyday of their career found them taking a bold and explosive approach to sampling and crate digging.

I am agog when listening to Paul’s Boutique and the music the boys laced into their exceptional tracks. Many could argue times have evolved to the point where sampling has become impossible and costly. I am hearing modern artists (in other genres) sample and they have not reported major obstacles. Perhaps that is because they are only sampling a single track (or two) but there are few out there willing to take the initiative and create an album and multifarious and cross-pollinating as 3 Feet High and Rising and Paul’s Boutique. Public Enemy’s It Takes a Nation of Millions to Hold Us Back arrived in 1988 and was, arguably, the start of a new wave of Hip-Hop gods. It is hard drawing a line between the three classic acts I have mentioned: each shares the D.N.A. of genius and groundbreaking music. Public Enemy’s strongest statement was defined by anger and a feeling of alienation. With Chuck D on the microphone, the record looked at the plight of black citizens in the U.S.; corruption from police and the government; the way his peers were being segregated and abused. An album that dealt with such harsh subjects did not deliver its music and motifs with po-faced production and a lack of imagination.

Take a gulp of the album and you witness a staggering display of lyrical/poetic inventiveness and sampling; incredible compositions and command like nothing else – a record that compels the body to move and makes you think. Even though we are not in the 1980s anymore; that does not mean Hip-Hop/Rap needs to become too entrenched in modern times. The albums I have named are the tip of the iceberg – I would urge people to properly investigate the late-1980s/early-1990s and the way Hip-Hop exploded and evolved. We cannot claim times were different then: today; there is the same political corruption and sense of division around the world. Not only are many Hip-Hop/Rap artists lacking any true incentive and fortitude: the music is quite flat and commercial. I am excited considering a new Eminem album - but there are few other Hip-Hop artists I am genuinely pumped about.

IN THIS PHOTO: Eminem 

At a time when we need these men and women to step up to the plate and show music how it is done – are the best of the breed failing to rise to the challenge and deliver an album with any real substance and genius?! If you look at the finest albums this year; there are going to be one or two Hip-Hop/Urban albums in there - but I feel other genres will take a bigger slice of the pie. Something as blissful and dreamy as 3 Feet High and Rising is what the music world needs at the moment – there are artists who get close but nobody quite reaches those heights – and could spark a new movement in Hip-Hop. At such a dark and fraught time; there is a distinct lack of humour and fun to be found in music right now. Hip-Hop does not have to lose its authenticity and street credit if it returns, to a degree, back to past decades and revokes its magic and wonder. Public Enemy showed you could deliver bombs of passion and proclamation but ensure the compositions sparked and ignited the mind.

I get tired by processed beats and formulaic lines; too many weak-willed mandates and insignificant albums. It sounds like I am taking aim at Hip-Hop but there have been wonderful records from the past few years – creations that have the potential to endure for many years to come. This stubborn and beleaguered music lover is always looking back and wondering whether modern music would benefit from greater pairing with its predecessors. We are seeing the 1980s making a comeback in Pop; the 1990s have never really escaped from music – a lot of artists I am featuring still obsesses over the guitar bands of the early-2000s. I feel Hip-Hop is the genre that stands above the rest and has the power to change lives and situations. During a period where the U.S. is being led to Hell; the world is fractured and people are not sure what the future holds – music holds a place and holds the torch that can shine a guiding light.

I feel Rock and Indie will only progress and inspire if we allow greater chances and access rights for the best of the underground; the mainstream become credible and worthy if there is a restructuring and a thorough investigation – have fewer commercial acts and restructure the charts so unsigned artists are provided the platform to mix with the big names – and Jazz provided better oxygen if people hang up their prejudices and preconceptions. Hip-Hop still suffers from being seen as rather niche and threatening. Few people I know listen to it and many assume (a Hip-Hop record) will be a slagheap of sex, sexism and suggestion. If leaders like Kendrick Lamar are no strangers to spicy language and prevarication: their music is designed to get people thinking and make a difference in the world. He is a rare example of what Hip-Hop can do and how far it can reach. Gone are the days of Lauryn Hill, De La Soul and Beastie Boys. I wonder whether the fact there are no modern-day comparisons is because of rigidity and fear. Many artists are sceptical casting their mind to the past – fearing they would be accused of being unoriginal and a pallid replica – but the difficulty sampling music and injecting that into your own is limiting a degree of creativity and potential.

IN THIS PHOTO: Run-D.M.C. (whose 1986 album, Raising Hell, was one of the most influential Hip-Hop records of the decade)

This is something we need to look at but, as it stands, it is possible and (relatively) inexpensive for modern artists to get permission to use other’s songs – and sprinkle that into their own body. Apart from modern queens like Princess Nokia; I miss the sparkle, colour and dreamy flows I grew up on. Perhaps I am being myopic but there is a great need to desire, among many, for Hip-Hop to open its mind and look back at its forefathers. Maybe there is not a universal writer’s block but there are few who are creating genuine works of art – albums that can remain for decades and inspire the new generations. In order for Hip-Hop to move forward; I think, ironically…

IT needs to take a long, fond look at the past.

FEATURE: 6 Overground: Why BBC Radio 6 Music Remains Britain’s Most Essential Station

FEATURE:

 

6 Overground:

ALL PHOTOS (unless stated otherwise): Getty Images/Press 

Why BBC Radio 6 Music Remains Britain’s Most Essential Station

___________

THE working regime, for me, usually starts as Chris Hawkins is…

IN THIS PHOTO: Chris Hawkins

entertaining his listeners on BBC Radio 6 Music. I do not tune in that early but, as I fight my way through fatigue and the temptation to emigrate to a hot climate – sack the job off and establish a music label in the U.S./Australia – I am brought back to Earth and realise I have to continue and life that nine-to-five life (ironic; given the fact I work a lot longer than that!). By the time I roll into the office, and unleash the caffeine enema, I am ready to settle down to the last half-hour with Hawkins. It is the voice of Shaun Keaveny that provides tonic, impetus and drive to keep going. I wrote, earlier in this year, about BBC Radio 6 Music and its merits; how it is an essential destination for anyone who loves their music. I will draw in an article – a very illuminating one Esquire published back in 2015 – that followed a typical day on the station; spoke with personnel and provided snippets of conversation and music that showed why the station survived the chop and has continued to grow. The latest Rajar figures – nothing to do with the leaders of India and their followers; to nick a joke from Frank Skinner – show there is a shift in the radio market. Chris Evans, the ginger one with a love of cars, has seen his listenership dip a bit: Nick Grimshaw’s morning show on Radio 1 is losing listeners at the rate of knots – there are changes that mean people are starting to head the way of BBC Radio 6 Music.

One can say that is a sign of age – younger listeners growing up and wanting something more mature – but I think it is to do with quality and the desire for something deeper and more appealing. I will come back to Keaveny very soon (as I run-down my favourite D.J.s and why the station is blossoming) but here is an article, from May, that showed where the listeners are flocking the way of ‘6’:

“BBC Radio 6 Music has achieved its highest ever audience figures as digital listening continues to grow across the UK, new data has revealed.

According to the latest Rajar figures (Q1 2017 2nd Jan-2nd April 2017), the station draws a record 2.35m listeners every week (from 2.33m last quarter and 2.24m last year). The Shaun Keaveny Breakfast Show, which recently celebrated its 10th anniversary, has a weekly reach of 1.12m, making it the most listened to programme on the network. Steve Lamacq’s weekday afternoon show remains over the 1m mark, with 1.115m listeners. Other shows enjoying record figures include Mary Anne Hobbs, Cerys Matthews, Huey Morgan, Chris Hawkins, Iggy Pop, Jarvis Cocker’s Sunday Service, Guy Garvey’s Finest Hour and 6 Music Classic Concerts.

The share of all radio listening (BBC and commercial radio) via a digital platform now stands at a new record share of 47.2% (44.1% last year), with 32m people tuning into radio via a digital platform (DAB, Online and DTV) every week. DAB remains the lead digital platform by some margin, and now delivers over 1/3 of all radio hours in the UK.

 Bob Shennan, Director of BBC Radio and Music, says: “Despite huge changes in the sector, it’s heartening to see a massive 89% of the UK population committing to listen to radio each week across a variety of devices. It has been a strong year for digital innovation right across BBC Radio with all our services seeing digital growth of one sort or another, especially BBC Radio 6 Music which goes from strength to strength, building a loyal audience that recognises a station run by music-lovers for music-lovers.”

Those all merry tidings for a station is going from strength-to-strength. I mentioned I’d return to Keaveny - and so I must! My usual radio-listening day starts properly around 7 A.M. and ends later in the afternoon, Monday through to Friday. I have heard other breakfast shows on radio and they all have drawbacks and perils: either too many adverts or inane chatter; terrible music or, if you’re really lucky, a combination of all three. With Keaveny; there is none of the pitfall and scars you get with rivals. He is a denigrating presence who is always tough on himself and his professionalism. The truth is it takes a lot of effort to get up, be consistently funny and produce a fantastic show every weekday – I will resist making a joke at this point. Not only is the charming/belligerent northerner perfect to get the spirits up and eyes bright during the working week; the music played on the show is consistently brilliant! I feel that is another reason many are flocking from stations like BBC Radio 1 and their colleagues: the range of music is often unreliable and the presenters not always as likeable as you’d like...

I find the younger vibe of Radio 1 puts too much emphasis on mainstream music and the kind of artists who go for streaming figures as opposed to genuine merit and respect. You do get some affable D.J.s and good music but its demographic is rigid when it comes to age and tastes. The same can be said of Radio 2 and its make-up. The music balances chart acts but it also features a greater number of older songs and artists – not as close to the top of the quality-spectrum as you’d hope for. I prefer Radio 2 over its younger peer but they are the only real BBC options out there – Radio 3, 4 and 5 have a very narrow sound/scope and are quite niche. The joy of 6 is the fact it takes all the best aspects of 1 and 2 – the energy and cool music combined with mature presenters who have been in the music industry a long time – and bundles it all into a kitten-cute package that appeals to those music-lovers who know their stuff. If you’d expect other radio stations’ listeners to be the sort who are nursing hangovers and wiping vomit from the corner of their mouth (not necessarily their own!): the discerning listening of BBC Radio 6 Music will be digging through crates of vinyl and queuing in line to see the latest Dutch Uncles gig. Keaveny is a former musician – and current lead of the epic Bince Meef (currently on-hiatus and planning an international tour, I understand) and has that affectionate bond with his music news presenter, Matt Everitt.

IN THIS PHOTO: Shaun Keaveny (photo courtesy of Esquire)

The reason I defected to BBC Radio 6 Music years ago was the tones and style of Shaun Keaveny. Every aspect of my writing and blog is compelled by the talent at 6 Music in some way. Keaveny has provoked me to think bigger and diversify my pages; bring in new features and become more ambitious. Even though Keaveny cuts a self-deprecating and imprisoned figure – a supplicant who prays to the gods of music to strike him down; wondering why he has not been fired – you can tell how comforted and defined he is by his role. I have covered this before but there are so many reasons Keaveny is one of the major stars of the station – someone who is responsible for bringing in new listeners and keeping the existing ones where they are. Make sure you tune in every weekday morning between 7 and 10 to hear the old master at work. Whether is his array of stunning impersonations – from Samantha out of Sex and the City; Paul McCartney or Donald Trump – you wonder how the man does it! It is just as well he is employed at the BBC as, without that outlet, he’d probably be confined to a nursing home. The comedic and vocals skills of Keaveny and his affectionate connection to Everitt (and producer Phil) means it is essential listener every morning., Matt Everitt’s music news is authoritative, funny and informative – the former Menswear legend/drummer is someone I listen out for so I can listen to/steal all his music news. He is an essential part of the breakfast team and keeps Keaveny in order when required!

When the show ends; it is to Lauren Laverne’s show we go. Like many of BBC Radio 6 Music’s personnel; she is a former musician – the lead of the incredible 1990s band, Kenickie – and seems to have limitless enthusiasm and passion for music. Her incredible knowledge and professionalism (as slick and charming as an oiled sea lion) stun me. I am always surprised she has energy left: there are so many side-projects and tentacles to her professional life. As founder of The Pool – a website featuring female writers; it tackles issues in society and features culture, fashion and music – she also presents on BBC Radio 4 and gives talks; is a D.J. who works at various festivals and events – a female Stephen Fry (if such a figure can be imagined!) who has her fingers in all sort of pies! Whereas Keaveny has his own style and dynamic: there is a distinct personality and flavour to Laverne’s show. Once again, as I covered this earlier in the year, I do not want to tread on the festival-mushed grass of repetition. I feel one of the reasons BBC Radio 6 Music is converting many to their pulpit of biblical music and congregation of proper music-lovers is talent like Laverne. She has a terrific rapport with the listeners and a warm and paternal warmth. Not only is she one of the most intelligent and knowledgeable D.J.s on the station but is incredibly quick-witted and funny. If Shaun Keaveny has the demeanour of a man who has committed a credit card fraud and, as opposed to a jail term, has been given the option of having his testicle hairs waxed off by Piers Morgan – Lauren Laverne is a cheerier disposition who nicely contrasts and evolves.

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: @laurenlaverne

Keaveny is a fantastic D.J. and an addictive draw for the listeners: Laverne is another wonderful human D.J. whose endless curiosity for music means she provides us with the best new underground artists and those long-forgotten songs that we should never have abandoned. One of the big reasons there are new listeners to the station is because of that music. Certain presenters have their own preferences and sounds. With Laverne; one gets a lot of great Electronic music and Indie sounds; it plays on the lighter side (of sound) but is the most eclectic show, in my view. I will allude to the empathic and revealing feature Esquire ran two years ago – when I talk about Steve Lamacq, Radcliffe and Maconie and others – but, for me, Lauren Laverne (like Keaveny) is the reason I remain with BBC Radio 6 Music. The reason I wanted to revise and update my previous love-note was the fact 2017 has been an incredible year for the station. I have assimilated so many aspects of the station into my work and drive; Lauren Laverne, and the way she manages to dig those lesser-heard artists and shines them for the listening public, has made me conduct a similar archaeological approach to music – I thank her for introducing me to some great artists who are part of my regular rotation; I have met so many terrific musicians because of her guidance. One might criticise a station like 6 Music for being a bit of a pub for former musicians and those luring for previous decades: Laverne is someone always looking forward and of the mindset: the best of music is yet to come.

I would refute this viewpoint but know, as she does, we are going to see some tremendous music in the future. The D.J.s of the station do not live in the past and clinging to a time that no longer exists: they are always looking for great new music and embracing what is fresh and current. The age argument is not fair as Lauren Laverne is only thirty-ni…thirty-somethin…thirty-eigh…she is pretty young and hip, still, okay! The fact she has been in a popular and acclaimed band means she has that inside knowledge and appreciation for music’s inner-workings and complexities. She was among the most vociferous voices that campaigned when BBC Radio 6 Music was threatened with closure. It is clear she has that endless love for what she does! Once Laverne clocks off at 1; we then head over to Salford for Radcliffe and Maconie – meanwhile, somewhere in London, Steve Lamacq is preparing his show and, one suspects, nursing a pint at a local boozer! Another reason BBC Radio 6 Music lures me is down to its northern contingency. Shaun Keaveny, Lauren Laverne and RadMac (Mark and Stuart) are from that neck of the woods – not many mainstream stations can boast that many northern stars. In a music industry that is seeing its voice twanged and instilled with a thick London accent: it is nice knowing there is some genuine and pure voice who are not willing to go all R.P. for P.R. These genuine and real personalities burst from the speakers and get into the heart.

IN THIS PHOTO: Radcliffe and Maconie with Eno Williams of Ibibio Sound Machine/PHOTO CREDIT: @BBCRadMac

Radcliffe and Maconie are among the most experienced D.J.s on the airwaves. Both have been in the industry for decades – Stuart Maconie used to work for the likes of Melody Maker and NME – and they have presented together on other stations. Their brother-like partnership means the listener starts their afternoons with huge laughs and entertainment. I have not mentioned the features on each show – I have covered that before and will come to that in the conclusion – but, with Radcliffe and Maconie; you get some wonderful guests and brilliant music. Like Keaveny and Laverne; there is a distinct ethos and aesthetic to their show. Stuart Maconie hosts his Freak Zone show whereas Radcliffe presents a Folk show on BBC Radio 2. Both are huge fans of new music but are keen to provide the listeners with the finest and most intriguing new acts from around the world. Both are incredibly sharp and funny and, with every link and moment, you are guaranteed to transcend into a better mood. One can take that age-old/old-age argument some have proffered and argue that is the very reason BBC Radio 6 Music is gaining huge ground: people prefer experienced and knowledgeable voices; they are less reliant on the inane and youthful chatter you get on ‘some’ stations. With Radcliffe and Maconie; you are not listening to two old men talking about their dangling prostates; cranking up the latest Buddy Holly hit and wondering why the young people are swearing so much these days – that seems to be the impression some critics have!

IN THIS PHOTO: A recent guest on RadMac's show, Weaves/PHOTO CREDIT: @BBCRadMac

What you do get is two chaps who have huge experience and bring that expertise to that show. Their show has a very youthful side to it: you do not only get songs from the 1960s and 1970s; there is a great blend of the brand-new and established. Mark Radcliffe spoke with Esquire in 2015 - and gave his views as to why BBC 6 Music is growing; why their show provides satisfaction and fulfilment; why you cannot label and rigidly defined stations/listeners:

“Rock’n’roll was the first music for teenagers,” he says. “And we’re still in an age when people who were teenagers then are still around. So the idea was, when it was invented, pop music was for young people and then they would grow out of it and when you were in your mid-thirties you would start listening to Mantovani and [long-running Radio 2 light-entertainment show] Sing Something Simple. But I don’t really understand this. If, your whole life, you’ve been driven by this adventurous spirit to find new things that you like, why would you at any point stop? If you’re really into food, why would you stop eating new things? If you’re really interested in travel, why would you stop unless you physically couldn’t go on? And, of course, music is brilliant. So why would you lose that?”

I will allude to that article more a bit later (legally, of course!) but I always ensure I tune into Radcliffe and Maconie every weekday afternoon. Steve Lamacq, who follows them, provides a distinctly London accent and different dimension. His show features reviews of the latest singles and in-studio performances from the hottest acts around. ‘Lammo’ doggedly and diligently plans his shows and is a veritable truffle-hound; keen to sniff the latest vibes and sounds for his adoring listeners.

IN THIS PHOTO: Steve Lamacq (photo courtesy of Esquire)

I feel so many people are tuning into BBC Radio 6 Music because the live venues scene is dwindling and under threat. Lammo is among the most vocal when it comes to preserving our best venues and ensuring they are subsidised. If one cannot get out to a gig – we have less disposable income, so often rely on the Internet and T.V. for our entertainment – he provides a worthy alternative. Not only does he guide you to the best gigs and events to see: he brings musicians into his lair and hosts those exhilarating and unforgettable performances. Lammo, in the aforementioned interview, has his opinions on the demographic – and whether the station appeals to those who yearn for older music:

“Certainly, we have a lot of people in their forties who are reconstructed rave-goers,” Lamacq says. “People who spent a lot of their teens and early twenties standing in fields around the M25. But then their music tastes have changed and they’re into folk or rock music or whatever. It doesn’t stop them liking what they liked as a kid. They’ve grown up with three or four different types of music.”

I will flirt and skip my way through the remaining presenters – my hand might fall off if I do that! – but there is an amazing array of spectacular D.J.s under the BBC Radio 6 Music banner. Dividing its broadcasts between London (Wogan House) and MediaCity UK (Salford).

IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Laura Lewis

I will take one last piece from the Esquire article – lest I use more of their words than mine – but Mark Radcliffe provided illuminating insight as to why Salford is a great base; why BBC Radio 6 Music provides freedom other stations do not:

 “When we were working in the north for Radio 1 and Radio 2, we very much felt like an outpost, which we quite enjoyed, really,” says Radcliffe. “But there was always this sense that the big cheeses in London were letting you ‘have a go’, whereas now I think there’s a sense of ownership on the part of 6 Music. We’re the first station that’s been on that twin basis, and we do feel empowered by that.”

What can they do on 6 Music that they couldn’t do on Radio 2?

“Play good records,” says Radcliffe. “The thing is that the common consent among all of us that work on it is that 6 Music gives something that we knew people wanted all along, really. People are always open to a much wider selection of music than people working on radio stations give them credit for. Everyone you know who likes music plays a whole range of things.”

If the Esquire feature paints the London studios in draconian, dystopian terms – nearly comparing it to a wooden shed of a classroom at a comprehensive school somewhere in Falkirk – it is clear there is no reason for the Salford talent (Craig Charles, Chris Hawkins and Mary Anne Hobbs among them) to relocate to London.

IN THIS PHOTO: Mark Radcliffe with Thundercat

There is a great community and spirit up near Manchester. The studios seem extraodinary and perfect; a different sensation to walking into the studios in London, it seems. That geographical distance might show divisions but, conversely, it is the strength of the station. BBC Radio 6 Music promotes diversity and variation: having a centralised, homogenised outpost would not be a wise decision. I will end things in a second but, until then, a dying word (promise) from the article; how the station as viewed in 2015 – and why it is attracting people in by the bus-load:

“We thought there was a gap for a radio service somewhere between where Radio 1 and Radio 2 was,” explains Jeff Smith, Head of Music at Radio 2 and 6 Music, a role that sees him have final say on which tracks are played across both stations.

“We looked at all sorts of content and one of them was an album rock station. One of the key points of that was to really dig into the BBC archive. So we had two people spending nine hours a day going through the sessions we’d done at the BBC for the last 25–30 years. Despite all our thinking about creating an album rock station with The Eagles tracks and Simon & Garfunkel, they found the archive was all Siouxsie & The Banshees and The Fall, because all the sessions were done by [John] Peel or [Radio 1’s Nineties indie show, hosted by Steve Lamacq and Jo Whiley] The Evening Session. And in the time between then and now, because the archive was very alternative in nature, very British, we started to build around that.”

Still, it wasn’t the strongest manifesto for a brand new radio station. Was it meant for people who’d outgrown Radio 1? Or for people who wanted a deeper music experience than they got on Radio 2? Or neither?

Tucked away on digital – at a time when far fewer people owned digital radios, or even understood what they did – 6 Music proved a hard sell.

I will end this but, the reason I wanted to return to the shores of BBC Radio 6 Music, is to congratulate, what I think, is its finest and most productive year. They had a bumper selection of guests a couple of months back – Robert Plant and Morrissey among them – and were up in Glasgow for their annual festival. Tomorrow, Shaun Keaveny provides the rundown of the station’s favourite albums of the year; Lauren Laverne has provides some wonderful live guests and performances. Every D.J., in their own way, has added to the magic and palace that is teasing listeners from other stations – curious listeners kicking off their shoes and staying put with the wonders of BBC Radio 6 Music. It is staggering considering, merely a few years back, the station was rebuilding after near-closure and extinction. For a digital-only station; it is amazing seeing so many people flock to the station; spreading the love and proffering its benefits. For all the latest hustling, events and news; the cool interviews and decorations of BBC Radio 6 Music; you can have a look at their website and get involved. I will leave this now and congratulate the station on a record year: they have built their base and continued to grow; that seems likely to continue into 2018! As the final days of the year come into view; we are all looking ahead at what lies ahead and whether the best of new music will reach our ears. With the stellar and extraordinary BBC Radio 6 Music; you can bet your bottom-dollar you are…

IN very safe hands.

FEATURE: Net Neutrality: How Its Potential Eradication Will Spell Problems for U.S. Music

FEATURE:

 

Net Neutrality:

PHOTO CREDIT: Press/Getty Images 

How Its Potential Eradication Will Spell Problems for U.S. Music

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MAYBE it wouldn’t have been the worst thing to elect…

IN THIS PHOTO: Members of the FCC/PHOTO CREDIT: Press/Getty Images

Hilary Clinton as the President of the U.S.A. I can only imagine how some Trump supporters are feeling after the election of the odious leader! This is a petition and charter you will all want to sign. Maybe this is an issue that will affect the U.S. more but net neutrality is something we are living with at the moment: its tightening and erosion will spell the end of free-speech as we know it. Maybe it is a bloated oligarch unwilling to open his ears to the criticism and common sense being aimed his way – like a petulant child who sticks their fingers in and makes a loud noise; blocking out their parents’ shouting and discipline. We can only hope the hideous Trump is buried under the weight of his own ignorance, bigotry and stupidity before the end of his four-year spell in office. Whilst the President gets in some brilliant-white shag carpeting and commissions ego-boosting portraits of himself – to drape on every white wall – he is also planning on killing net neutrality. In a few weeks; we will know whether net neutrality’s death is signed and destined – or whether there will be a turnaround and cure. It does not mean the shutting down of the Internet as we know it: the aim is to control and monitor websites and information we share online.

PHOTO CREDIT: Press/Getty Images

At the moment; we can access any website we want and have the freedom to share information/content how we see fit – so long as it is not illegal. Protests will take place in the U.S. on 7th December: people will take to the streets and register their disgust on the Internet. If you want to know what neutrality is; how its end will affect us and what comes next for us – here is a useful guide via Save the Internet:

“Net Neutrality is the basic principle that prohibits internet service providers like AT&T, Comcast and Verizon from speeding up, slowing down or blocking any content, applications or websites you want to use. Net Neutrality is the way that the internet has always worked.

In 2015, millions of activists pressured the Federal Communications Commission to adopt historic Net Neutrality rules that keep the internet free and open — allowing you to share and access information of your choosing without interference.

But right now this win is in jeopardy: Trump’s FCC chairman, Ajit Pai, wants to destroy Net Neutrality. In May, the FCC voted to let Pai’s internet-killing plan move forward. By the end of the summer, the agency was flooded with more than 20 million comments. The vast majority of people commenting urged the FCC to preserve the existing Net Neutrality rules.

Time is running out: The FCC will vote on Pai’s proposal on Dec. 14. Join the millions who have already spoken out against it.

 IN THIS PHOTO: President Donald J. Trump/PHOTO CREDIT: Alex Wong via Getty Images

What is Net Neutrality?

Net Neutrality is the internet’s guiding principle: It preserves our right to communicate freely online.

Net Neutrality means an internet that enables and protects free speech. It means that ISPs should provide us with open networks — and shouldn’t block or discriminate against any applications or content that ride over those networks. Just as your phone company shouldn’t decide who you call and what you say on that call, your ISP shouldn’t interfere with the content you view or post online.

Without Net Neutrality, cable and phone companies could carve the internet into fast and slow lanes. An ISP could slow down its competitors’ content or block political opinions it disagreed with. ISPs could charge extra fees to the few content companies that could afford to pay for preferential treatment — relegating everyone else to a slower tier of service. This would destroy the open internet.

What would happen if we lost Net Neutrality?

The internet without Net Neutrality isn’t really the internet. Unlike the open internet that has paved the way for so much innovation and given a platform to people who have historically been shut out, it would become a closed-down network where cable and phone companies call the shots and decide which websites, content or applications succeed.

This would have an enormous impact. Companies like AT&T, Comcast and Verizon would be able to decide who is heard and who isn’t. They’d be able to block websites or content they don’t like or applications that compete with their own offerings.

PHOTO CREDIT: Juan Jose Horta 

The consequences would be particularly devastating for marginalized communities media outlets have misrepresented or failed to serve. People of color, the LGBTQ community, indigenous peoples and religious minorities in the United States rely on the open internet to organize, access economic and educational opportunities, and fight back against systemic discrimination.

Without Net Neutrality, how would activists be able to fight oppression? What would happen to social movements like the Movement for Black Lives? How would the next disruptive technology, business or company emerge if internet service providers only let incumbents succeed?

Huffington Post have bluntly explained what an Internet shift and paradigm change will mean for the average internet user:

“If the FCC ruling is allowed to stand, a few cable providers will get rich, new Internet ventures will move to other parts of the world, content will shift to places and languages that leave Americans out, and millions of Americans that

Which is why Americans need to voice, loudly, their displeasure with the FCC decision with their elected officials NOW, before the Trump’s television giveaway gets underway.

You can reach the FCC by email, or join one of the many protests to your elected officials by phone, text message to Fax, or petitions on Change.org, the White House, the Free Press, and Sign For Good. Like all regulation changes, we’re in the comment period”.

PHOTO CREDIT: Press/Getty Images

At the moment; we all pay a fee for our Internet service but we are aware of what else we are paying for – subscription fees for media sites and news outlets; for Spotify and Amazon; various other charges. In essence, without neutrality, Internet service providers can block certain contact and imposer stringent censorship. If an artist/figure has an outspoken political view and criticises the regime; that I.S.P. can block their videos/content and impose penalties. It can lead to an all-out block and black-out. Services can be moved to other nations and charges can be levied on the user; everyone will be watched and there will be a greater amount of restrictions and curfews. I mentioned how Trump was a delicate little flower: the bloated birthday-boy who does not want anyone to eat his cake; a stubborn and spoilt brat who spits orders and infantile waffle to anyone who will listen. We are talking about a scenario that would be somewhere between China and North Korea. One can see the Internet and access it: they would be controlled and manoeuvred by the State and there would be intense and rigorous political measures. In theory, if the measure went through, a service provider like AT&T could block or censor an artist who criticises the President. They could block the service, FaceTime, so users would have to look around for other options – more expensive and less user-friendly.

Before I come and drill down to the point – and how it can affect the music and entertainment industry in America – let us look who is behind the movement – and why it is proving controversial. The Daily Beast has provided their views:

“The man behind this move is Ajit Pai, the chairman of the FCC, who took up his post on January 23, three days after Donald J. Trump moved into the White House. In March, Trump said that Pai would be renominated to serve an additional five years as FCC chairman, and the Senate confirmed this term in October.

Just a little over a month after his confirmation, Pai is making moves to dismantle freedom in America. (It’s worth noting that Pai previously worked as associate general counsel for Verizon Communications, one of the companies that would benefit greatly if his plan is pushed forward. It’s also worth noting that FCC commissioner Jessica Rosenworcel has spoken out against Pai’s plan.)”.

One hopes there is not such a dictatorial and fascist approach here but, with the U.K.’s close ties with the U.S.; how long will it be until our Prime Minister considers such a movement?! Maybe it is Trump slowly turning into a communist dictator and turning his country into his own, twisted ideal of America. The sheer protest and backlash will make passing the ruling extremely risky. If the FCC’s appointed head – who used to be a successful lawyer – decides to kill net neutrality; it will change the way music is shared and enjoyed. The effect we will see through society will be profound and shocking: who knows how far the ban will go and how many restrictions there will be!

IN THIS PHOTO: FCC Chairman, Ajit Pai/PHOTO CREDIT: Press/Getty Images

Over the past few months; we have been hearing about sex scandals and entertainment figures outed and accused. People, women mainly, have been coming through and offer criticism and condemnation to the accused. Their views have been angered and unifying: we are allowed to express ourselves in that way and, as a man, I learnt a lot from what was coming out – feeling shocked at those who shielded the guilty and those who committed the acts. I would not have heard about the extent of the scandals were it not for the Internet; the backlash and feedback would not have been known were it not for the Internet – many people would have been denied their voice and say. We have guidelines and laws at the moment which means, if someone trolls or creates hate, they will be punished. We do not operate in a society where the Internet is inaudible and glides by without judgement. If people access illegal content; if they contravene laws and guidelines, then the site/I.S.P. will take action. Away from that, we have the freedom to say what we want and express ourselves in any manner we feel fit. If someone like President Trump objects to what someone says on Twitter – aimed at him – then he can block them (I can only imagine how sore his fingers are!). He is someone who has turned governance and leadership into an electronic thing: he has little comment and connection with people; preferring to post garbage on his Twitter account and spreading hatred.

PHOTO CREDIT: Press/Getty Images

HE is allowed to say and do as he pleases: the proposed death of net neutrality would prohibit people other than him saying the same things as Trump. It is an irony that seems to be lost on him. The close allegiance and bond between Trump and less-than-popular leaders mean he is turning the country into a business. We all knew this when he took over. Trump does not run a country to benefit the people and moving the nation forward: the reason he wanted to get into the White House was to diversify and expand his business mantras and maxims on a worldwide, political stage. There is no difference between the businessman and President. Because of this; few can be surprised he is supporting and promoting n action that will limit freedom of speech and generate more money for him. If the regular service provider bans certain content and gets strict; people will be at the mercy of other Internet options. They might charge a lot more and, in an effort to have their voice and words heard, people will be spending a lot more money needlessly – that all gets filtered back to the U.S. The President is keen to preserve the Second Amendment. That says, in order to maintain a free state, everyone has the right to bear Arms and protect themselves. This old-age, idiotic hangover from centuries-past has resulted in gun massacres and mass murderers running wild.

IN THIS PHOTO: Eminem/PHOTO CREDIT: Press/Getty Images

The President, in collusion with the gun nuts and those beholden to the U.S. Constitution, will never budge when it comes to guns – it means the nation is exposed to more bloodshed and endless deaths. If that so-called ‘inalienable’ right is stubbornly adhered to; why is someone like Trump so keen to block someone’s right to violate the First Amendment?! He has no respect for those who die due to gun violence; he has no regard for anyone who questions his actions and wants to exercise their First Amendment rights – he is turning the U.S. into a communist state. Whereas the likes of China are becoming less repressive and cruel: the U.S. is going the other way and losing a sense of liberty, freedom and the rights of the people. If there is an end to net neutrality then it can signal the end of musicians being able to talk about what they want. If someone has a comment about the President during a gig; that content could be blocked – and people would not be able to stream that performance. The same could be said of any studio material that is put into the ether. Anything the President deems to be controversial can be blocked or removed. How many musicians are going to be able to express themselves and release material as they always have?! With artists like Eminem gearing up new material; one wonders whether his music would see the light of day anywhere.

PHOTO CREDIT: Stephanie Frey/Dreamstime

It might get exposure on the radio but there is a danger, even if the album does get onto Spotify, Amazon and iTunes: Internet service providers might be able to block certain content or raise prices; make access and availability more difficult. There are some who say the end of net neutrality is more business-minded than it is censorship-based: it will affect tariffs and pricing rather than an arbitrary blocking of content and sites. One cannot say this for sure until it is imposed and rolled-out. I will end things with a piece Digital Music News ran a few days ago - that explains what could happen to musicians:

What does this mean for the music industry?

Imagine this.  As an independent artist, you struggle to get noticed on the internet.  Today, to make a living, you (or your band) may sell, distribute and promote your music.  Streaming platforms like Spotify and Apple Music may offer subsistence, but direct online sales of merchandise and concert tickets may offer a bigger payout.

If (and when) the FCC eliminates net neutrality rules, larger companies could easily lobby for ‘premium prioritization.’  This means that consumers would have to pay more to access their favorite sites.  Your website may not make the list.

Access to the internet could become a two-tiered system based solely on financial success.

American ISPs would likely sell consumers faster access to sites.  Larger companies would quickly divert traffic away from smaller, independent websites that help musicians.  Popular social media networks, including Facebook and Twitter, could easily charge musicians more to promote their music.

PHOTO CREDIT: Press/Getty Images

Independent musicians, DJs, producers, and bands, meanwhile, would face rapid marginalization.  Major music labels (Sony, UMG, and WMG) could pay Facebook to promote big-name artists like Taylor Swift and Adele.  Users on these platforms, and even on video services (YouTube, Vimeo), would constantly see ads for these big names.

Indie artists could face an uphill battle just to get noticed.

That’s on the artist side.  But what about smaller, independent streaming platforms?  Would Spotify, Apple Music, and Amazon Music pay to have faster access to their platforms?  If users pay higher rates for quicker access to more-popular platforms, what would happen to artists on SoundCloud?

Others could also get shorted.  Drip by Kickstarter and Patreon would soon become a less attractive platform for musicians and content creators.  Fans would likely access their favorite music on YouTube, a platform with mostly terrible payouts.  As a result, the value gap would also grow wider.

In the end, musicians would live the worst-case scenario: a lopsided music industry favoring the strong.

According to FCC Chairman Ajit Pai, eliminating net neutrality rules would actually promote investment and innovation.  Internet service providers wouldn’t have to worry about “rate regulation and other heavy-handed oversight.”  Pai added that the FCC would “relinquish any authority over Internet traffic exchange.”

With an incentive to provide faster connections to websites, ISPs could form alliances with larger companies.  They could then offer consumers “bundles of services and creative pricing.”  Given the success of these partnerships, international ISPs may quickly follow suit with similar deals.

PHOTO CREDIT: Press/Getty Images

While the FCC would no longer regulate ISPs, the FTC would face the daunting task of protecting the American consumer.  Yet, some groups claim that the FTC would have limited power to enforce fair business practices. The National Hispanic Media Coalition wrote,

There is a lot of confusion and predictions but one thing is for sure: the way we use the Internet will change; what we say and how much we can put online will be endangered. I worry anything deemed anti-Trump or controversial could be deemed unworthy of visibility and oxygen. This could extend to having views about celebrities who commit crimes and limit the amount that can be said again them. As the above article shows; the problems facing independent, new artists could be tire – placing a strain on their future and growth. There is no need to kill net neutrality and it seems like another move for Trump in his zeal to strangle his nation and mould it according to his own vision. There will be limiting of free speech and expression – despite what some commentators are saying! – and the business side of music will turn on acts and make life very unsure for them. There is no real way of saying just how damaging things will be but one thing is for sure: the end of net neutrality will change things for the worse. I hope it does not extend to the U.K. and impact our artists: American musicians and creatives are going to see the way they release music and communicate challenged and changed. At a time when free speech and conversation is bringing justice and much-needed dialogue in the world of entrainment: what Trump and the FCC are proposing will be…

PHOTO CREDIT: Press/Getty Images

A hugely unwise move!

FEATURE: Album of the Year: Lorde - Melodrama

FEATURE:

 

Album of the Year:

Lorde - Melodrama

___________

IT was a pretty close-run thing but, in a list with heavy…

PHOTO CREDIT: Andrew Whitton

learning toward males artists: it was a very special album from Lorde that made the biggest impact this year. I will talk more about Melodrama but, when it comes my favourite records of 2017; there is an interesting and varied blend to be found. Lorde beat out Kendrick Lamar’s DAMN. and Benjamin Clementine’s I Tell a Fly; Wolf Alice’s Vision of a Life and St. Vincent’s Masseduction; Baxter Dury’s Prince of Tears and Dizzee Rascal’s Raskit; Lucy Rose’s Something’s Changing and Robert Plant’s Carry Fire – Queens of the Stone Age’s Villains making its way into the high spots! Those albums are in no particular order, either: I would actually put Queens’, Benjamin Clementine and Wolf Alice in the next three spots; Raskit would be challenging in the top-five. It’s not a huge male majority but there are bands in there – the overall body-count tips in favour of the guys. It is, therefore, quite pleasing to see the youngest female in the top-ten get the honours. That sounds condescending but it is not meant to be: Melodrama is a stunning album that has already been dubbed NME’s favourite L.P. of the year. It is not often I side with the ailing publication but, on this occasion, they were right on the money – even if the remainder of their top-ten contained a couple of duds...

New Zealand-born Lorde caused an enormous wave of excitement where Melodrama was released back in June. The weather was hot but few could have predicted something as intense and bright as Melodrama. Lorde’s debut album, Pure Heroine, was released in 2013 and was a smash with critics. They noted its maturity and unique lyrical personality; the striking vocals and incredibly memorable tracks. There were some who were less-than-positive but the majority of critics threw their weight behind the record and marked Lorde out as an icon to watch – the then-teenager was lauded and lifted above the musical crowd! It was not a surprise to see the talented songwriter take a bit of time to craft her sophomore album: the fact it was a four-year wait created some nerves and doubts.

When Royal Blood and London Grammar returned this year with their sophomore albums; there was a real concern from both – each act repeating what they put onto their debut without adding anything new; each record weaker than their debuts. Maybe that problem arose from the fact they have very defined sounds and it would have been a risky venture adding too many new genres and sides to their music – the long gaps between records, one feels, would have afforded the chance for originality and innovation. Both British acts were busy touring after their debut and that fatigue/lack of studio time meant weaker second albums than we all expected. Lorde might have fallen into the same trap. She was elevated from an unknown musician to a global megastar when her debut album hit the shelves. She embarked on international touring and was on the cover of magazines; featured on radio stations around the world and under the spotlight. Considering her music, that appeared on the debut, was unique and personal meant a rapid follow-up was not likely. She needed time to craft songs and let inspiration find her – some time to write between gigs and find moments to put her thoughts on the page. I sighed a bit when the years went by and we entered 2017 – and still no sign of a new Lorde album!

Maybe the pressure had got to the young songwriter; the expectation too fierce – perhaps Pure Heroine was a strange and beautiful one-off....The first signs of new Lorde life – aside from some marketing hype and teasers – was the incredible lead-off single, Green Light. Anyone who feared Lorde was not match-fit had to eat their words when that song arrived. Its video saw the heroine dancing through the streets and casting her spell wherever she stepped. I am not usually predisposed to embrace a Pop album: even if it is a sophisticated and deep one. Last year, my favourite album was Billie Marten’s Writing of Blues and Yellows: this year, I was expecting Kendrick Lamar to stay in my mind; maybe a late effort from Björk could prize the award from Lorde’s grasp?! I am still letting Utopia settle and Noel Gallagher’s High Flying Birds made a noble charge with Who Built the Moon? Neither album could shift the passion I have for Melodrama.

It won me around because it is unconventional and unexpected. There are nods to the 1980s in terms of the big sounds and incredible sense of fun – even if the production values keep it in 2017. There are swathes of 1990s and early-2000s Pop, too – she spanned the decades and managed to inject so many different sounds and ideas into one record! Some have described the album as a concept, of sorts. Lorde struggled with some of the writing. False-stars and fruitless detours were not helped by a break-up from her long-term boyfriend, James Lowe (in 2015). It is hard to see past that split and how it infused and inspired some of Melodrama’s most potent and personal poetry. The album explores solitude but there is that location of a house-party: the heroine letting loose one moment; playing the acid-lipped vixen in another room; moving to contemplative and mournful in another – aware and awakened the next moment. Written and produced alongside Jack Antonoff; there are contributions from Frank Dukes, Malay; Andrew Wyatt and others. I read interviews where Lorde provided insight into her creative process and the artists who inspired Melodrama.

Paul Simon and Joni Mitchell were named as guides. It is easy to see aspects of Graceland and albums like Blue/Both Sides Now on Melodrama. A lot of contemporary Pop/mainstream stars do not cast their mind back or have a huge knowledge of older music – taking impetus from their peers and producing music somewhat one-dimensional and plastic. There is soul and intelligence running through Melodrama; immense nuance and songs that have their own identity and nature – no two songs alike; each one engrossing and captivating. Green Light is the racing opener and first track written for Melodrama. When speaking with Pitchfork; she explained the song’s birth and formation:

“The song is really about those moments kind of immediately after your life changes and about all the silly little things that you gravitate towards. I say, 'She thinks you love the beach, you're such a liar.' What the fuck, she thinks you like the beach?! You don't like the beach! It's those little stupid things. It sounds so happy and then the lyrics are so intense obviously. And I realized I was like, 'how come this thing is coming out so joyous sounding?' And I realized this is that drunk girl at the party dancing around crying about her ex-boyfriend who everyone thinks is a mess. That's her tonight and tomorrow she starts to rebuild. And that's the song for me”.

 PHOTO CREDIT: Mark Mahaney for TIME

There is a bit of Florence + the Machine’s jangling, big piano work; there are cheerier big moments but the mood is one of reflection and heartbreak. Compelled by her first heartbreak; Green Light is that acceptance of longing – moving on and trying to make sense of things. The first-written song for the album was going to be a natural opener and debut single – it is the core and heart of the record; it contains all Lorde’s much-loved D.N.A. and incredible songwriting. One can hear Lorde taking control and having more say in the production; ensuring the song was just as she wanted it to sound. Sober and The Louvre paint pictures – quite appropriate given the title of the latter! Sober is a more emotional and revealing song whereas The Louvre more scenic and descriptive – one could imagine standing alongside the heroine and following the story. Liability and Writer in the Dark are two of the strongest songs Lorde has ever come up with! Writer in the Dark is about deceit and leading someone astray; the dangers of trusting her and playing folly with emotions – telling the boy never to trust someone like her. Liability shows the sort of emotions and pains deep in Lorde’s heart: a raw and revealing diary-note that could have been ripped from the pages of any young woman’s thoughts – expressing the same sort of romantic pains and inner-reflections many experience.

Super Cut and Perfect Places incredibly striking and gripping. The latter, in a way, is the reward after the reveals: in the middle of the party and listening to her own voice; not following muses and anyone else – returning to the same place you were in to start with. That is what makes the finale so intriguing and unique: a young artist who is immersed in parties and chaos; looking for somewhere better before realising she is in the same state she always was. The entire record is a look at the break-up and wreckage of love and the way it has affected her; growing out of her teenager skin and trying to start a new phase – Melodrama is, perhaps, not a bad title considering the times and tribulations documented throughout.

I feel it is the perfect record for 2017: an artist who took time to create something special and not rush-release an album; managing to top her debut and break new ground. Nobody this year has crafted anything as mesmeric and populist as Lorde. Critics were fast to add their words and praise. AllMusic was filled with love (…”Instead, Lorde is embracing all the possibilities the world has to offer but then retreating to the confines of home, so she can process everything she's experienced. This balance between discovery and reflection gives Melodrama a tension, but the addition of genuine, giddy pleasure -- evident on the neon pulse of "Homemade Dynamite" and "Supercut" -- isn't merely a progression for Lorde, it's what gives the album multiple dimensions”); The Telegraph was hardly ambivalent with their assessment (“Her distinctive melodic style and hip hop rhythmic flow actually risks getting a bit dully repetitive if the content was not so strong and the arrangements so carefully fashioned and consistently surprising. What is truly fantastic about Lorde is that here is an original, emotional, intellectual, imaginatively audacious singer-songwriter operating at the highest artistic level yet putting it across as easy-access modern mainstream pop. Melodrama deserves to be a blockbuster”)...

NME, a little smitten, too (“It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months. The message might be that Lorde considers herself wild and flawed and bruised (“I’ll love you till you call the cops on me,” she sings, on the deliciously bitter ‘Writer In The Dark’), but we all do sometimes. That’s the neatest trick the album pulls off – universal connection, in spite of the squad and the praise and the superstardom and the pressure. Humanity intact. Artistry assured. Brilliance confirmed”). The latter named it their favourite album of 2017: I expect many other big-name publications to follow suit!

I think it will be a two-horse-race when it comes to that ‘Album of 2017’ leadership: Kendrick Lamar’s DAMN. is natural competition. Two more different albums/humans could you meet – I think Lorde has the edge over the phenomenal Lamar. Whoever is the critical winner come the end of this year; I am going to remain with Lorde and keep the album in my number-one position. It is a fantastic work that deserves to be heard for years to come. One wonders what the next step is for the New Zealander. The gap between albums number-one and two was due to a romance split and some half-formed sketches – songs not forming quickly and Lorde having to deal with a lot of upset. I am not sure whether she is in a relationship now but one assumes/hopes the period between now and her third album will not have the same turmoil and upset – she is in her twenties and has learned how capricious love can be. Whether she ponders increased fame and a new phase of life on her third record, I am not sure... 

 PHOTO CREDIT: Mark Mahaney for TIME

When that will come, again, is down to her – let’s hope there is a shorter wait than we had for Melodrama! I am still listening to Melodrama five months after its release. It is a record that provides new life and interest every time you put it on; there are no limits to its potential and the feelings it provokes. That is an amazing feat from someone so young and fresh in the music world! Lorde is not your average artist, mind. You never know what to expect from her, when it comes to themes and songs, but we have come to rely on that unimpeachable quality and wonder. Lorde has so many years ahead and I cannot wait to see what she comes up with next. Melodrama is a peerless record from a musical treasure; a unique songwriter and…

PHOTO CREDIT: Garth Badger

A truly special artist.

FEATURE: I Guess That’s Why They Call It True: Fifty Years of Elton John and Bernie Taupin

FEATURE:

 

I Guess That’s Why They Call It True:

 PHOTO CREDIT: Michael Ochs Archives/Getty Images 

Fifty Years of Elton John and Bernie Taupin

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A week is a long time in politics…

 PHOTO CREDIT: Getty Images  

it was once said: fifty years is a fuc*ing long time in music! There are few today who will forge a fifty-year career – I don’t think anyone will, in fact! For every artist like Robert Plant, Paul McCartney, Bob Dylan and Mick Jagger: there are endless parades of half-formed acts that are not really equipped for longevity and innovation. Times have changed and are not as conducive to the sort of epic careers that began in the 1950s/1960s. The Internet and near-bursting-point of modern music mean it is really difficult maintaining a career of such extreme years. That is not a bad thing but one thing made me look at another aspect of music: the songwriting partnership. You don’t really get them anymore, do you?! Paul McCartney and John Lennon; Mick Jagger and Keith Richards; the theatrical greats and less-than-modern Pop writers like Paul Heaton and Dave Rotheray – it seems their days were a long time ago. Modern music, normally, is done by sole writers or groups: it is rare to find a solid and enduring partnership that remains over multiple albums and decades. Then again, they do not make them like Sir Elton John and Bernie Taupin anymore! A few days ago; the partnership celebrated fifty years of collaboration – Elton John marked seventy years on Earth, too. That milestone (the former) amazed me and compelled me to revisit the back-catalogue of one of music’s finest-ever duos. Even though Elton John’s debut album, Empty Sky, was released in 1969: the songwriting duo of John and Taupin started a couple of years previous. It is debatable when they started writing together – whether it was earlier in 1967 or November; later that month or earlier in the year. BBC Radio 2 put out a show (last week) that spoke with the men behind the music:

The interview is an illuminating and fascinating insight into that makes the friends tick and bond. Even though the duo has been writing together for fifty years; they were not exactly slow off the mark when it came to quality songs and albums. In fact; the second Elton John record, Elton John, was a big commercial success and favourite. Released in 1970; tracks like Your Song and Take Me to the Pilot showed Elton John’s gift for melody/music; Taupin’s unique lyrical style. Tumbleweed Connection (1970) and Madman Across the Water (1971) strengthened that bond and saw the songwriters hailed as modern innovators. If it was Elton John’s voice that was heard on the radio; few could ignore the impact Bernie Taupin made then – and still does to this very day. Madman Across the Water features Tiny Dancer: one of the first big hits for Elton John; one of the best songs from the early-1970s. Maybe the biggest early smash for the duo was 1973’s Goodbye Yellow Brick Road. For that record; Taupin wrote the lyrics in under three weeks; John composing the music in three days as he stayed at the Pink Flamingo Hotel in Jamaica – the reason for that location was because The Rolling Stones recorded Goats Head Soup there! It shows how easily and natural Taupin and John worked alongside one another – in any location, it seemed!

Whereas one envisages the early days of Lennon and McCartney being two chaps sitting around a piano swapping lines and choruses: I imagine the structure and dynamic of John and Taupin as a bit more distance and compartmentalised. It is clear they had an incredible respect and understanding from the start – how much of the complete process was recorded together, in the same room is unclear. With huge and eclectic hits like Goodbye Yellow Brick Road, Candle in the Wind and Bernie and the Jets – and Saturday Night’s Alright for Fighting – making 1973 a sensational year – that was not the end of it! 1974’s Grammy-nominated Caribou contained The Bitch Is Back; 1975’s Captain Fantastic and the Brown Dirt Cowboy had Someone Saved My Life Tonight; Blue Moves was lucky enough to include Sorry Seems to Be the Hardest Word! I have included a playlist at the bottom of this feature: the authoritative and comprehensive list of Taupin/John hits. It shows how incredibly varied and inventive the music was. Whether you are a fan of John’s incredible instinct and musicianship or Taupin’s storytelling and standout lines – there wasn’t another duo like them around! If Mick Jagger and Keith Richards are the only songwriting duo who can match Taupin/John – they have been around longer but it is a close call! – they don’t, in my view, have the same width and consistency.

There was a period – between Blue Moves in 1976 and 1983’s Too Low for Zero – when the quality dipped. John worked with a couple of other songwriters and there was a slight loss of momentum. Too Low for Zero roared back with I’m Still Standing (an appropriate title if ever there was!) and, in my humble opinion, the duo’s defining moment: I Guess That’s Why They Call It the Blues (I know Davey Johnstone co-wrote the music but let’s not split hairs!). The partnership was reformed and John agreed to work full-time with Taupin again – the details of their separation and experimentation should not go into a feature that celebrates their unity. The fact of the matter remains: it is no coincident the poorer albums of that time (1976-1983) broke the solid and tested John/Taupin unit. It’s true some of the later albums of the 1980s were not the finest from the duo – 1986’s Leather Jackets is retched; Reg Strikes Back was not as solid and redemptive as its title suggested – but they were back on a more even keel come the 1990s. Many have argued the duo’s 2000s songwriting was as sharp and solid as their 1970s cannon. Although there were fewer big hits and radio smashes: the quality and depth explored by Taupin and John continued to stagger and confound critics. 2016’s Wonderful Crazy Night is the most recent offering from the songwriting geniuses. One knows they will continue to write together until they both run out of breath – let us hope that is not for another couple of decades!

Before I wrap up – and underline why Bernie Taupin and Elton John are invaluable and pioneering – I wanted to source from Elton John’s official website. This year, when talking about his partnership with Taupin - he explained why it worked and has remained to this very day:

“It’s the same excitement now as when we first started. That this year marks the 50th anniversary of my partnership with Bernie Taupin is mind boggling for me because it seems like only yesterday that I met him. It’s an amazing achievement to stay with one person for 50 years on a creative basis, in an industry where that doesn’t really happen very much.”

When it came to the, potentially prickly, subject of reaching his seventieth birthday; John had this to say:

“I’m interested in moving forward all the time, with what I create, my collaborations, and also with discovering the work of other people. I think age is immaterial, provided we keep our minds alive by being open to new things. I can be as excited by a new artist who plays me their demo as I am by a new record of one of my musical heroes. I can be excited by playing a new city I’ve never played before, or revisiting somewhere I know well and seeing how it’s changed. Life is a constant state of flux for us all, and I like to embrace that. I also feel very happy to use my position to bring attention to injustice in the world and to try to help where I can. At this time in my life, I’m the happiest I have ever been.”

PHOTO CREDIT: @eltonofficial

Bernie said of Elton:

“It’s been an unconventional partnership and while we pretty much patented the two-rooms technique I’d venture to say you’d be hard pressed to find a couple of songwriters more in sync with each other and their craft.”

As Taupin said himself: they mastered that two-room working environment but remained in-sync and completely connected from the very start. The fact they are friends and colleagues fifty years after their first song means they are doing something right! I worry modern songwriting is defined by isolation or too many cooks – the biggest stars of today having their music penned by an array of hired-guns and producers! Maybe things have changed to the extent we will never see a partnership quite like Elton John and Bernie Taupin. That is sad in itself but we are very lucky to have the epic and incredible legends in our midst – this country is masterful when it comes to those world-class songwriting duos! Let’s hope the partnership remains for another couple of decades (Elton will be kicking arse and causing havoc when he is in his nineties, for sure!). I will lend this by bringing in a recent interview - the duo conducted with Cameron Crowe – who has been a fan of the two for years.

The interview is illuminating and filled with affection – there were two questions that stood out. The first one drilled back to those first few days:

“Cameron Crowe: You two met in ’67, when Bernie answered an ad in the New Musical Express newspaper for a writing job at Liberty Records. Elton answered the same ad. Neither passed the audition, but you came together as collaborators, just about 50 years ago. Knowing what you now know about each other, would you go back and repeat this same relationship again?

Bernie Taupin: Undoubtedly. I think one of the things that kept us together for so long is the vast differences in our personalities; anybody who’s followed our careers would see that pretty easily. If we had been at all the same make-up in our characteristics, it probably wouldn’t have lasted.

Elton John: I love Bernie more than I’ve ever done and I think he feels the same way about me, because we’ve led separate lives. We don’t live in each other’s back pockets. We are totally different. He is the Brown Dirt Cowboy, and I am Captain Fantastic. That’s how it turned out and I wouldn’t have it any other way”.

The second question was a simpler one: how they went about writing a hit:

“BT I’ve always maintained that if you can play an instrument, you have the potential to write a song.

EJ Writing has changed so much these days. Eleven people wrote “Uptown Funk”. If you’re an artist, or if you want to be an artist, you go and play – you get a band together or you go and play live. Ed Sheeran, who is signed to our management company, started out playing in people’s living rooms and busking. You cannot buy experience. Go out if you’ve got a guitar or piano; play in a bar, in a hotel. If I’m in a hotel, I always go up to the piano player and say: “How are you doing?” Because there, but for the grace of God, go I.

BT It’s like Bruce Springsteen said: I learned more from a three-minute record than I ever learned in school”.

PHOTO CREDIT: Getty Images  

If the early incarnation of Bernie Taupin and Elton John spawned those big hits – that continued into the 1970s – their modern work is not exactly shoddy and meagre. They have love and affection for one another; there is that determination to keep exploring and pushing. Fifty years down the line and the partnership shows no signs of breaking. Bernie Taupin and Elton John act as guidelines and mentors for modern duos who want to have the same legacy and respect as them. At a time when there are whores of committee-written songs and talented solo artists: what place for the classic songwriting duo?! Maybe they are a product of past decades but I’d like to think, somewhere in the world, there is a potential John and Taupin waiting to meet one another! What form they take – and what music they write – there is a desperate need for their bond and survival. Keith Richards and Mick Jagger and not really writing together at the moment: it means John and Taupin are a rare and special force. As we crave and search for a duo that could replace Elton John and Bernie Taupin – the established and inimitable duo are not going anywhere soon! As the music world celebrates the icons and congratulates fifty superb years of memorable music; things are clear and obvious:

PHOTO CREDIT: Kevin Mazur/WireImage

THE bitch is not going anywhere!

FEATURE: Let’s NOT Talk About Sex: The Dating Life of the Modern Musician

FEATURE:

 

Let’s NOT Talk About Sex:

PHOTO CREDIT: Getty 

The Dating Life of the Modern Musician

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IN a piece tomorrow…

PHOTO CREDIT: Getty

I will look at the idea of net neutrality: there are plans to ban it and, with that, it would take power from independent musicians and eliminate free-speech. I am concerned there are higher-ups who are trying to take powers and expression way from people. It is a subject that will rage on and will reach its peak next month – protests will be held on 7th to stop the FCC killing the Internet as we know it. I will talk about the effect this will have on musicians – and the ramifications of possible changes – but it got me thinking about the safety and rights of musicians. I wanted to raise a subject, now, that has been put to the front of my mind the last couple of days. I know many female musicians and quite a few of them are single. The demands of the industry means the day is spent working (at a regular job) or promoting your sounds: the nights, often involve social media time and more promotion. If the weekends, to most, offer a chance to run into the wild and neglect the need to obsesses over work we hate: for musicians; there is no such relief and downtime. I am in that boat, too. I spend most of my available time, away from work, writing.

PHOTO CREDIT: Unsplash

Sat at a laptop – with a wall for a view – is, perhaps, not the best way to spend my time on Earth but the rewards I get (seeing musicians get their work to new audiences) provides satisfaction. At the end of it all; I have the desire to make this thing a full-time career and give up the daily drudge. The female artists I know have this desire and hunger – there are men who fall into this argument, too. We all need to relax and kick back: dating and love is a good way of doing that. Even if you’re in an industry as hectic and demanding as music; you need to think about relationships and yourself – it cannot always be about work and stress. The modern way of working means artists/music creatives have to rely on the Internet to find love. There is an array of dating websites that cover all tastes and demands. Whether you pay for a subscription – or have a free trial – it means you have access to thousands of available singletons. I think men are at risk of this but it mainly applies to women: the dangers of the Internet and the type of ‘catch’ you will find there. It seems odd mentioning it on a music blog but I feel musicians are among the busiest around. Their lives are packed and it can often be hard to schedule any time for sex – let alone love or anything long-term.

PHOTO CREDIT: Getty

It might seem sexist saying females are more vulnerable but is the opposite: it is men who create the danger and have raised alarm.  I have heard stories, over the past few weeks, of female musicians taking to dating sites in the hope of finding a companion – the horror stories and testimonies that have come back go beyond the comical or peculiar. I know one or two women who, after trial-and-error and a marathon, have found someone who isn’t a complete degenerate. There are, however, so many who are either being bombarded by lurid comments and innuendo; sent explicit pictures and asked to perform pornographic acts – all before they have even met or spoken to one another! Maybe this is the way the modern world is changing: the Internet means there are more people out there; more ways people can get in touch; fewer barriers and vast opportunities to commit crimes and behave appallingly. The fact the Internet creates great access around the world is a bittersweet blessing/curse – it can be great for music and promotion but not so reliable when it comes to human relationships! I am not talking about some harmless misunderstandings and ill-advised comments: there are actual offences and perversities committed! That may not seem shocking or unusual in this age. That, in itself, says a lot about our generation and the way they abuse technology/others. I was affected by a recent story – she will remain anonymous – where a female musician set up a date with a man and came away having to report a crime.

PHOTO CREDIT: Getty

The details were not disclosed but it left her shocked, appalled and scarred. That is something nobody wants to see and it makes me wonder how many women are at-risk and vulnerable. I mention this in the context of musicians because they have so little time free – the Internet can be the easiest option and a way of connecting with others. Even if the interaction (online) is agreeable and pleasant; that does not mean the person you will meet during that date acts the same way. I guess that is the risk with any blind dates but one can find a lot more seediness and unseemly men on the Internet than via the conventional blind date channels. I have heard similar stories from someone who is a successful beauty blogger – she has been on a string of dates and, with each man, has found things that have turned her stomach (not so much to turn her head!). Maybe this is a problem consistent with other industry but it seems creatives, musicians especially, are falling prey to some horrible deplorable characters. Maybe songwriters/musicians go for a particular type but I am concerned the industry itself is becoming less sociable. My proposed solutions are a little contradictory: having a bespoke, and safe, dating website; making sure there are more social outlets for musicians who are busy with work. If one has to go down the Internet route – the cost of endless dating and commuting means electronic contact is more practical – that does not mean they have to subject themselves to a torrent of smut, creepiness and, at times, assault.

PHOTO CREDIT: Getty

I have mentioned a couple of women but, when talking about their experiences, there has been actual abuse and criminality. I cannot guarantee that any new dating website will keep the creeps out; nor will it guarantee those who join are dependable and decent – there needs to be something done that protects women. I know there has been some specialised music dating websites. I do not think any of them are that successful or discussed. Certainly, from my experience, websites like Match.com, Plenty of Fish and eHarmony UK are the big boys. If you have the need - and feel like you need something more highbrow – then you can join websites where they are more thorough with their schematics and algorithms. All of these sites have their pitfalls and traps – Tinder, actually, seems to be the worst of them. I cannot say whether there is a psychological correlation between the type of man that frequents Tinder – and those who go on to make women feel uncomfortable. If there was a website that was reserved to musical personnel – D.J.s, musicians and D.J.s; producers, directors and the like – then that would erase so many potential misfits; mean there was a common thread and the users would instantly have more in common with one another. The name is not easy to get – one feels the word ‘strings’ would have to come in; No-Strings-Attached might suggest something casual and sex-based – but that would come in time. We need something that provides this safe haven and is properly invigilated. Moderators and ‘Internet police’ can keep an eye on comments and make sure there is more thorough vetting when people subscribe. It should be charged but not so artists/musicians are priced-out and feel pinched.

PHOTO CREDIT: ZoneCreative

One could, quite easily, create an online portal/website that was a community for music-lovers and musicians. It need not be anything as defined as a dating website: a lot of artists, who are single, are looking for friendship and company as much as love. There is that option where one could easily communicate with someone who shares the same passions – those passions are kept pure (until appropriate) in an environment that is warm and friendly. Anyone caught contravening and contradicting the codes of the site would be swiftly and permanently ejected. I have been speculating and playing with the idea of a music website for a few years now – maybe that is an incorporation I could make! What we do need (myself included) is a site where the artist/creative can go and chat if they want to; they can agree to meet for a chat; they can organise a date – without fear of discrimination, attack or abuse. That might sound simple but, in reality, most of the dating sites around will feature the worse elements. The new site – whatever it will be named – would be a lot firmer with regards those who perpetrate false morals; provide greater surveillance and ensure any women (or man) who is being spoken to in degrading terms would be protected. I, for one, would welcome a dating/friendship site that was reserved for people like me; where I could get quality and familiarity – getting that convenience and conviviality into the bargain!

PHOTO CREDIT: Unsplash

Whilst is paramount we purify Internet dating and make sure female musicians – and anyone who uses them – do not feel threatened and unsafe; there is a school of thought that argues getting out into the ‘real world’ is a better option. I have said how many artists/writers do not have a bag of time to go out meeting potential mates. If we were to combine music/work into a more sociable environment then that, one would hope, gets rid of the issue?! I know there are gigs and bars but they can often be crowded and reserved for those who want to watch artists – rather than chat and flirt. Coffee shops are an option but is there something especially for a musician? Whether it is as extensive as creating bars/cafes that tailor to the dating/work-life demands of musicians/artists, I am not sure. It would be good to turn existing venues/spaces into places those harried and stressed can go and relax. Maybe having a dating/socialising night would be a solution. There would be music but the atmosphere would be curating to promote fun and a degree of peace–keeping the sworded types out of the door and making the environment sociable and secure. There are dating nights and special events for people to meet others but so much of the time people have to use the Internet for their dating needs. There is, as I have outlaid, ways of making a site that erases (most of) the dangers and is a spot where similarly-minded folks can chat (and more).

PHOTO CREDIT: CheapMadness

How does one replicate that for the real-world streets?! One need only walk through a city like London and realise how busy and sociable it is. A lot of this ‘socialising’ can involve a lot of alcohol and the liaisons born from this can be rather brief and forgettable – where one picks up their underwear with a sore head and regrets everything. The focus is not on sex and instant gratification: ensuring musicians/artists can find love/companions that last a long time. Not only will that strip away the degradation experienced when navigating the likes of Tinder: it means they have stressed relieved and get to experience love. I am seeing too many people – mainly females, to be honest – who are meeting dodgy men and bemoaning the lack of quality out there. Their time is precious and the strike-rate on dating sites is not always that high. I would welcome a new website but feel one could easily utilise somewhere like a café and host dating nights. Maybe it does not need to have that pretence: organise a sociable gig/gathering and singles, if they choose, can go there and mingle in a space they feel comfortable in. The Internet provides a place where those shyer and more nervous can project confidence and not have to feel intimidated. I know many balk at the concept of chatting to the opposite sex in intimate terms. The Internet prevents instant nerves but, in the long-run, it makes bonding a lot harder.

PHOTO CREDIT: Pinterest

I agree modern dating and socialising is expensive; we do not all have time of an evening to go out and meet people – or go to bars in the hope somewhere, someone will be spark a fuse. The problem with relying on the traditional dating sites is there are too many bad experiences. Some of these might be amusing but, when you put them all together, what effect is this having on confidence and emotional well-being? A man/woman might be lovely and attractive but, given the way others treat them, be fooled into thinking they are the problem. The immeasurable psychological impact means many will stop dating and trying to find someone. That can then lead to severe emotional issues and depression – they might never feel safe and confident meeting anyone. Music demands attention and passion but there are so many out there who have passion and time left to give to someone else. Creating nights/spaces where people can dance, chat and meet – like a club/pub but better music/people there – would be a good idea. With so many venues closing; one wonders how people are spending their nights. Maybe the cost of licenses is an issue: maybe people are going out less because they find it cheaper staying in. I know there are artists, musicians and talent out there who are being hurt by Internet dating and want to connect with a nice, decent human being. I am concerned the Internet is not protecting people and, for those women who are victims of predators and the perverse, the penalties are either non-existent or not strict enough.

PHOTO CREDIT: Getty

Let’s create – either a dating website or bespoke nights/locations – where we can feel comfortable in and, one hopes, discover people a lot nicer and more attractive (than what lurks on dating sites). If we can do that, and allow musicians a better and more sociable balance, that will not only impact on their wellbeing and happiness – it will result in better music and an industry where those looking for love are not frustrated and depressed to the extent of serious emotional damage. It is another concern that needs addressing but it can be done. In it 2017 and single people should not have to feel bad about their status: they should not, if they choose to change it, have to struggle so hard to avoid catfishes. The world is getting darker and more stressful: the need for love and togetherness is at the forefront of everyone’s minds. Dating and love is not reserved to a particular class or human…

PHOTO CREDIT: Pinterest

IT is something we all deserve!

FEATURE: And Dream of Sheep: Why Sleep Deprivation and Pressure is Damaging Musicians’ Health

FEATURE:

 

And Dream of Sheep:

Why Sleep Deprivation and Pressure is Damaging Musicians’ Health

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ONE of the growing problems I am discovering…

ALL PHOTO/IMAGE CREDITS (unless stated): Getty

in the music industry is the poor emotional health of artists. I have discussed mental-health in depth, but this is a lot less complex – how so many musicians are not getting a lot sleep and, because of that, it is impacting on their career. Not only does a lack of sleep cause discoordination, fatigue and depression – it creates physical issues and can affect health in the long-term. I will bring in an interesting argument/article that theorises the benefits of insomnia; how it can promote creativity and is beneficial to musicians. To me, where I will bring in some supportive pieces, there is too much pressure from the music industry. I will bring in ‘periphery’ concerns such as high rent prices and competition but, from a health perceptive, it is troubling seeing so many musicians unable to sleep adequately. One of the biggest contributors to the problem is the amount of stress a modern musician faces. The need to get gigs and earn a crust means (musicians) have to work longer hours and are unable to switch off. Music has, over recent years, become a digital-heavy industry; one where artists can control their environment through laptops and technology. Social media is a useful tool for artists: the fact they are spending so much time on it is having a detrimental effect. To maintain a career in music – without considering success and growth – the sheer determination and work ethic is driving many to extraordinary lengths. I have spoken to a number of musicians and there is a direct connection between their sleep problems and the hours they have to pull.

Social media is a great way of getting music out there. It gets sounds to the people readily and quickly but so much of it is tied to popularity and marketing, Musicians cannot put a song out there and see it grow – able to sit back and have other people do all the work. You can say that has always been the way with music but the growth of competition, combined with the digitisation of music, means so many of us are unable to extricate ourselves from technology. I will go on but, to bring some black-and-white science to the fore; here is an interesting article that shows the extent of the problem.

“The National Institutes of Health estimates that roughly 30% of the general population suffers from sleep disruption. According to the American Psychological Association, most healthy adults do best with 16 hours of wakefulness and an average of eight hours of sleep per night. However, individual needs can vary from requiring as little as six to up to 10 hours of sleep per night. Sleep requirements do not decline with age, though the ability to sleep soundly may.

Sleep experts cite stress as the number one cause of acute sleep problems. You’re worried about an upcoming gig, which causes you not to be able to sleep, and pretty soon you are also worried about not getting enough sleep. In this way, anxiety and insomnia exacerbate each other. Yoga, meditation, and other mind-body relaxation techniques can often help you cope.

 Travel, especially when you cross time zones, can upset your biological (circadian) rhythms. Compound that with being in a strange place, and you have a recipe for exhaustion. Environmental factors like a room that’s too cold or hot, noisy, or bright, may be beyond your control on the road.

Inadequate sleep will reduce your musical abilities, overall wellbeing, and quality of life. Numerous studies have proven that inadequate sleep can cause reduced cognitive functions, such as those needed for effective concentration and decision making. It can affect your irritability, patience, and ability to get along with others”.

A little later, when bringing in a competing article, there are some interesting arguments that state a certain rationing of sleep can be beneficial for a creative brain. I worry success and survival is tied to numbers and scoreboards. There was, years ago, far fewer new musicians operating away from the mainstream. There was not the same problem we have now with artists having to sacrifice health and happiness in order to make a go of their chosen careers – by the same token; we are in a position when anyone can come into music and that, in turn, provides a huge and bountiful market for the public. Take a case-study of Musician A. She/he will release a new song and put it out to the world. It does not end there…over the course of days/weeks; Musician A monitors how it is doing and ensures the song gets out to radio stations and promoters. It is not over then. After that; they have to make sure the song gets on playlists and is shared on social media. Visibility is so much a part of the musician’s career. Many feel, if they take time off from social media and connecting with the digital world; their music will suffer and they will be overlooked. I am in the same position: writing endlessly in the hope someone, somewhere will see my work and give me an opportunity. Competition so stiff and vast, every artist around feels insecurity and is expected to work themselves half to death. Is that pressure coming from the artist or the industry?

It is a subjective debate and it is not easy to answer. I feel there is more weight on the latter’s scales. Of the artists I have spoken to; they always come to the same conclusion: if I do not concrete my whole being to music, I will risk losing fans/following. That is paraphrasing, but the general gist is obvious: artists are sacrificing their free-time and health in order to maintain a music career. It is hard to say exactly how damaging the issue of insomnia and physiological strain is putting on the individual. It will vary person-to-person but it is clear something constructive needs to happen. I will move on to the cost of living, anxieties and relationships – before then; I found an interesting piece that explained why early rising can benefit the creative drive:

YOU HAVE LIMITED FOCUS.

We’ve all been there. You’ve just gotten home from work, maybe you still need to make dinner for yourself and all you want to do is sit on the couch and flip through your favorite TV shows or dig into some Netflix. You’re not alone. This is absolutely how everyone else feels after a long day at work too. Most work days, about 5 hours in- I am mentally fried. Later that night I go home and try to work on some memorization or sing through some music and it feels almost impossible to focus or retain information at that point. We only have a few good hours of focus in us per day. Make sure you’re using them wisely! Get up a couple hours before you have to go to work, and start hashing out some art! It’s the best way to truly make progress. Don’t wait until the day is over and you have nothing left to give. Put your passion first.

YOU WILL FEEL LIKE YOU HAVE "STOLEN HOURS" WITHOUT DISTRACTION.

When do you receive the most phone calls and texts? Generally after you and everyone else gets home from work. If everyone else is still sleeping or getting ready for work, chances are, you are going to get way fewer distractions. Hearing your phone buzzing or getting endless messages and e-mails can disrupt your practice in no time. Getting up earlier gives you the feeling that you have stolen some extra hours just for yourself.  Jump into your day with music FIRST.  There will be plenty of time to watch cute cat videos on your phone later.

YOU WILL FEEL LESS GUILTY.

I don’t know about you, but I tend to let a lot of guilt creep up when I feel like I don’t give much focused attention to my art. I feel like it’s slipping away from me. I feel like I should be getting more done, or be further along in my studies. This is all part of the emotional roller coaster that we artists get to ride for our entire life!  Weeeee!  If I have already gotten events created, pictures posted, blogs written, songs practiced, and created posters for my next gig by the time I get to work, I come home feeling WAY less guilty. I don’t have to be a zombie attempting to practice after work AND be really sad about it too. Boom goes the dynamite.

YOU WILL WAKE UP WITH A PURPOSE.

If you have a solid reason WHY you need to be getting up in the morning, you’ll absolutely do it. I know that I wake up every morning wanting to get ready to make more music. You can either make art now, or make excuses later on. Period.

YOU WILL GET WAY MORE DONE.

It is truly amazing how much you can get done even if you wake up only 1 hour earlier than you did before. Maybe it’s the proximity to my coffee pot, or maybe it’s just that my brain is so fresh, but I can get about two or three times as much done BEFORE work, as I do after a long day.

YOU WILL HAVE GOTTEN THE PRODUCTIVITY BALL ROLLING.

Life is a series of tasks.  If you hop out of bed in the morning and you get straight to doing the work you were born to do, that creates a ripple affect in entire your day.  You will be more present at work and you will have more energy to manage the rest of the items on your daily to-do list. Bodies in motion tend to stay in motion. So start your day strong and create all the inertia that you can.

Some of the above is true and, by putting in an extra bit of work at the start of the day means there is time near the end to get to sleep early – decompress sooner than usual. The flaw with that debate is you are not gaining any more sleep-time. Perhaps there is the tactical psychology behind the reasoning – the consistency and quality of sleep is improved if you can detach in the evening hours – but I worry these points are a rather subjective and flawed viewpoint. Another article, from The Guardian a few years back, brought actor/musician Matt Berry together with Glass Animals’ frontman, Dave Bayley:

"When you're sleep-deprived I imagine it's quite similar to having taken certain drugs," says Bayley, who has a degree in neuroscience. "The logical side of your brain is slowly withering away because there's not enough energy to power it, and all these crazy ideas start happening that your brain would normally suppress. I find the brain a mystical beast. It's so bizarre and interesting."

IN THIS PHOTO: Glass Animals' Dave Bayley

Berry had a similar experience in his studio, which has neither windows nor clocks. "It was kind of dreamlike. Sometimes I'd go back the next day and think: 'Wow. Some of it doesn't sound like me.' There are things I wouldn't have done during the day – lots of things coming in and out of focus."

 Some studies have suggested a correlation between creativity and sleep disturbance, known as "creative insomnia", although this has been disputed. There is, however, plenty of anecdotal evidence from musicians. Artists such as Chris Martin, Moby, Tricky and King Krule have all talked about finding sleepless nights inspiring as well as tormenting.

Unusually, Berry set out to make music that might help other people alleviate their insomnia. He abandoned plans to theme it around childhood or being underwater because he didn't want to trigger unpleasant memories in certain listeners. "I tried to make it interesting but I've left it as blank as I can," he says. "I've used basic elements such as water and air. Other than that, it's whatever images you can conjure up from it. I'm not trying to push anything on you".

There are remedies, programmes and treatments that have been suggested for musical insomniacs – is that more a case of medicating rather than addressing? I have respect for Berry and Bayley’s experiences but they are in a privileged position. Most artists do not have the same opportunities and success as they do. The issue of sleep and an exhaustive schedule is not common to every new musician starting out. There are those who can balance the demands of the industry without sacrificing their well-being and sleep habits. The artists I am familiar with have to balance a full-time job with their music: working, essentially, two jobs in order to fund their passions. Many could claim musicians make the choice and do not have to follow their paths – that would be somewhat glib and unhelpful. I mentioned how rent prices are causing issues. We all know most of the labels and opportunities are based in London. Rent prices are much steeper in the capital than they are other parts of the country. Recent studies suggest things are levelling out but, at the moment, it is barely feasible for a musician to reside in the capital. I have seen many filled with ambition – looking to rent there – and have either found life too expensive or not been able to find a flat to begin with! Many who live outside London, where rent prices are cheaper, have the added stress of commuting and the costs associated with that.

I am looking for prices in London and the average room in a decent-ish London pad can be anywhere from £600 - £700 a month (or more; the flat pictured would cost WAY more than that per month!). Put together travel, food and utilities and the average musician does not have enough money to socialise. Cutting loose and detaching from the work environment is a great way to promote better sleep and mental-health. There is that desire to be close to London in order to be visible and local. So many musicians are overlooked if they are not within touching distance of the capital – the sight of the media and venues does not extend as far as it should! All of these elements, combined, is seeing musicians build their hopes up and dream; have those dreams eroded and return to a more ‘modest’ – and less desirable – existence. It is a vicious circle and stress that is making the issue around sleep even worse. The pressure of finance and living conditions exacerbates the issue; reduced sleep means the energy levels sap; the creative flow is limited and that can add to depression and anxiety – causing real problems and dangers. Maybe all of these issues are too weighty to deal with and cure; perhaps it is impossible to deal with every concern and create a perfect environment for a musician.

PHOTO CREDIT: Pinterest

The modern music industry provides a chance for everyone to come in and get their work out to the people. The flip-side is the level of commitment needed from a musician; the amount of time the individual needs to spend on their work – and the effect it is having on their sleep/health. The less time they have for social activities (less money in their pocket) then the unhappier they will become. Of all the artists I have heard from; there is the feeling any ‘wasted hours’ – chilling or sleeping – will be detrimental to their success. We need to, therefore, break out of the head-space that puts this much pressure on the artist. Behind the digital screens and social media sites; there are few bodies and safeguards looking after the artist – whether they are rested enough and have adequate support. Many are lying awake wondering if they are good enough; if they have done enough and are worthy. I know medicines, exercise and designated time for socialisation is a good way of combating sleep issues but it is the pressures of success and physiological considerations that are hardest to treat. There is this perceived ideology social media success and streaming figures are the mark of success and popularity. The dwindling venues scene – so many great spots closing – and raising rent prices is putting fiduciary stress on the artist. Put all that together with growing mental-health concerns and it is putting so much pressure on musicians. I know it is not a simple fix but we need to realise how damaging a lack of sleep can be; how a pressurised music scene is creating more problems than productivity. There are benefits to a lack of sleep – it can lead to greater productivity – and rebalancing your sleeping habits means transposed priorities (getting more work done earlier in the day means you have time free in the evening) is a nice solution. I worry too many artists are burning out and sacrificing something as fundamental as a good night’s sleep to balance the demands of a music career. If we were able to create an industry where a musician felt less pressured and overworked; that would ease their minds and promote greater mental-health. It is a side of music we need to tackle and get to the roots of. If we do, and can prevent musicians giving up so much of their time and life; then that will create an environment where we place…

BALANCE over obsession.

FEATURE: The Growing Rise in Sexism and Sexual Harassment Claims: Is It Only Limited to the Film Industry?!

FEATURE:

 

The Growing Rise in Sexism and Sexual Harassment Claims:

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Ramona Rosales/August   

Is It Only Limited to the Film Industry?!

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A simple answer to that question…

PHOTO CREDIT: Bustle/Getty

would be "no!". Although there have been numerous allegations made against figures in T.V. and film – we can naively sit back and say the music world will not be affected. I am going a bit off-piste and addressing the wider world of entertainment. I will, soon, bring in a couple of articles/interviews that look at the problems arising – and the figures who are fighting against sexual assault and sexism. I guess that is part of the problem: the women coming forward are victims of sexism and male machismo as much as anything. We cannot say this is a new phenomenon or something that has cropped up the past few years – a lot of the allegations are from years ago. The reason why I have sourced a photo (as the thumbnail) from The Guardian is because of the interview they conducted with Sarah Silverman – a comedian who has never been shy of making her voice heard and tackling wrongdoing. She does not specifically allude to controversies around people like Kevin Spacey and Harvey Weinstein: she looks at sexism and unequal rights/values affecting U.S. society; how more needs to be done to redress the ill – and how she, and her female peers, are an important part of the fight (and I really like the photo, too – hopefully, a lawsuit is not forthcoming!). Whilst figures such as Silverman – I shall come back to her in a bit – are providing inspiration and fuel: the likes of Morrissey are not helping things one iota! It seems, on the subject of sexism and sexual assault; women are adding sense and rationale: a lot of male interjection is either an unhelpful or insignificant maxim.

IN THIS PHOTO: Morrissey/PHOTO CREDIT: Getty

In the BBC article - it concerned an interview Morrissey conducted with the German newspaper, Der Spiegel - when asked about the allegations concerning Kevin Spacey – actor Anthony Rapp claims Spacey took advantage of him when he (Rapp) was fourteen – the former Smiths man stated:

"I don't know about you, but I was never in situations like this in my youth…I was always aware of what could happen. When you are in somebody's bedroom, you have to be aware of where that can lead to".

Morrissey is a musical genius, no doubt, but a bagpipe of bullsh*t when it comes to serious debate and controversial topics – he seems to put his foot in it and make everything worse! Moz, when talking about the allegations directed at Harvey Weinstein (and the assaults perpetrated), had this to say:

"Afterwards, they feel embarrassed or disliked. And then they turn it around and say: 'I was attacked, I was surprised'.

"But if everything went well, and if it had given them a great career, they would not talk about it."

"I hate rape... But in many cases, one looks at the circumstances and thinks that the person who is considered a victim is merely disappointed."

The interview also saw Morrissey talk about the ‘tradition’ of musicians having sex with their groupies – something that was seen as commonplace (although he was, obviously, not involved with that as part of The Smiths).

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Getty

I will come to cover-girl Sarah Silverman – and her interview with The Guardian – as she has a very healthy and mature approach to the likes of Harvey Weinstein and what we can do to stem the issue. I think a lot of the allegations coming out concern events that happened a number of years ago – does this mean there are far fewer cases of sexual abuse and molestation in the entertainment industry today?! It seems, with high-profile cases in the U.S., the seedy log of sh*t that has been festered for years is in no danger of subsiding. It may seem, from the outside, like a few privileged creatives not knowing any better – doing things they consider normal and, only now, realising that it was inappropriate. Jeffrey Tambor, star of Amazon’s hit show, Transparent, has left the show after claims were made of misconduct and sexual assault – he took the decision to leave; fearing the claims would see him sacked. From comedians, actors and producers; we are seeing new revelations and accusations come to light. I wanted to write this piece and discuss two things: why the issues are not reserved to film/T.V. – and will be a problem in music – and why men need to do more to counteract the issue. It seems the male chromosomes have been rather cowardly and shy. It is not a battle-of-the-sexes, here: men are causing the issue and, even if a high-profile figure is not culpable and under suspicion, they should feel the need and duty to attack their peers!

IN THIS PHOTO: Jeffrey Tambor/PHOTO CREDIT: January Images/Rex/Shutterstock 

Silence does not exculpate them: it does show a culture of fear and acceptance is creeping in. Is it okay to say nothing and assume, as some do, these allegations are either exaggerated or concerned with a practice that was concerned normal back then?! Even though the likes of Tambor and Spacey have expressed regret and repulsion – the fact they were found out after being accused means there is a deep-down problem that needs eradicating. People knew better back then: it is not acceptable to say things were different and they knew no better. That does not wash with racism, domestic assault and bigotry: it is definitely not the case when it comes to sexual inappropriateness and assault. Whilst more claims are coming to light – and stars from across the entertainment world are being outed and facing heavy penalty – I am not hearing a lot of male input! Where are the contemporaries offering condemnation and disgust?! Actors like Matt Damon have been accused of aiding and shielding figures like Harvey Weinstein – the Borne actor remaining quiet when he knew, full well, what was happening at the time. Most of the aggrieved and emotional proclamations coming from the news are from women: the vast majority, in fact! If I were in a position of influence and discovered someone in my field has committed such crimes; I would be out there and offer nothing but judgement at the accused.

IN THIS PHOTO: Kevin Spacey

It is positive seeing women coming forward and revealing these men for who they are – the fact they felt they could not come forward before suggests there is a lot of fear; maybe they would not be believed?! I think the music industry is in a volatile position at the moment – in the sense, I know there are incidents like this (Weinstein, Spacey etc.) that are not being reported. We know there is a massive amount of sexism in the music industry and, hand-in-hand with that, there are men who feel they can get away with assaulting female artists – because they are in a position of ‘respect’ and authority. Maybe there are different dynamics in the music industry – compared to the relationships one finds on sets and in studios. For an actress; she would work very closely with a director/producer – often taking directing that involved physical contact and intimacy – and that, in turn, leads to that director/producer taking things too far – assuming that is allowed and consensual. Male actors would, obviously, find themselves in close proximity to a female co-star. The fact this expressive and untamed approach to human contact continued off-set is the result of ego and ignorance – their cachet means they can get away with it and the woman wants it. Perhaps there are a few claims that are slightly overwrought and misunderstood – where do we draw the line and how do we define what is inappropriate and acceptable?

PHOTO CREDIT: Irina Munteanu 

Obviously, laying on top of someone and forcing yourself on them is degrading and immoral; pinching a woman’s bottom and making lurid advances is despicable and illegal. Is, therefore, something like a misplaced hand on the knee or an innocent sexual comment less serious? Are we talking about semantics and should we be a little more open-minded and tolerant when it comes to relatively ‘minor’ incidents? I feel every accusation/claim is not equal but every one of them is important and warranted. Bringing this back to music and I have witnessed, first-hand, directors (for music videos) advance on female artists and make suggestions few would argue are connected to the process of making a video. I have read new stories where female Pop artists have been assaulted and raped by producers and colleagues. We are all sage and observant enough to realise a woman’s need for sexual expression and liberation is not an open invitation for men to assault and abuse them. Even if a Popstar (other genres are available!) deliberately and provocatively exposes flesh in order to shift a few units – they are not asking to be touched, assaulted and taken advantage of! I am part of the camp who feels we need to look at sexuality in music and whether videos/photoshoots, in some cases, are sending bad messages to young and impressionable listeners – young girls thinking the way to get ahead in the world is showing their breasts and showing as much skin as they can.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty

As I said, just now: artists like Beyoncé and Katy Perry – a distinction in intentions and severity – are showing spirit and confidence in their body; promoting their femininity and trying to inspire young women – they are strong and passionate figures who will not be cowed and seen as second-class citizens. I have been watching unfolding events (in the media) and seeing various stars admitting indiscretion and wrongdoing. I know there are equivalent issues in music but, right now, there are very few cases coming into the spotlight. The working dynamic and logarithms of the music world are not comparable to those of acting – artists/bands tend to work alone and have relatively little contact (physical) with a producer/director. Even though there are fewer opportunities for latent abuse of power – and blatant sexual assault – that does not mean the issue is moot. Far from it, in fact! I have written extensively on sexual imbalance and sexism in the music industry. From the male-dominated major festival headliners to the sweaty studios; the high positions and management roles in record labels – it is a veritable sausage-factory! I am seeing changes where more women are being recognised and studios are opening their doors/minds to female involvement – it is a minor change that does not go far enough. As we are seeing more and more cases of sexual assault in the entertainment issue; I wonder whether music should be more aware of the skeletons in its closest. I have heard/read about incidents where female artists have been assaulted by a male peer/producer.

IMAGE CREDIT: Pinterest

There have been even more cases whereby a female artist has been touched inappropriately or subjected to vile abuse and sexism – not only from those within the industry but fans/those who attend their gigs. If many male figures in film/T.V. are standing silently by as their associates collude and squirm – should music, A) unearth and expose sexual assaults present within its walls and, B) ensure its men – those not guilty of these offences – provide stern and unwavering finger-pointing at those who are in the wrong? I would say so and, the more we overlook and do not act, the more that will fester and fart. I will come back to this in a bit – because I want to draw a very striking line through each sector of the entertainment industry; drill down to the nub of my discourse – but, as promised, a look at the recent Sarah Silverman interview. In a candid and intriguing interview; Silverman was asked to give her views on the Weinstein accusations. The Guardian’s Sophie Heawood revealed more:

"The Harvey Weinstein scandal broke a fortnight before we met, and has been growing ever since, with daily news of further rapes and assaults across the industry. I point out that this has been a horrible two weeks for women in Hollywood. “No,” replies Silverman, still smiling. “It’s probably been the best two weeks for women in Hollywood ever. It’s a better two weeks than the silence of the past. I mean it’s finally exposing it. The enabled fucking monsters are gonna think twice now. And that’s what it’s all about,” she says. “Be scared,” she adds, addressing the exploiters. She asks me what today’s latest developments are, because, “It’s crazy, working on the show I can only catch up on the news at night so I end up sitting on the side of my bathtub, just scrolling.”

Rather than wholeheartedly scorn and attack Weinstein: Silverman suggested it was not so much a case of exonerating these men but understanding why they commit these acts in the first place. Weinstein is, as she says, a ‘monster’; but one who felt he could get away with assaulting females in his industry without ramifications. As Silverman revealed:

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Ramona Rosales/August

“I’m not trying to have empathy for Harvey Weinstein, he’s clearly a monster, but monsters are made. Listen, we spent the past 60 years, especially Jews, trying to figure out the pathology of a Hitler. So to understand someone’s pathology is not a waste of time.” She has wanted to join in with #metoo, “but I didn’t want to pull away from it because so many maniacs from the far right jump on me when I say my stuff. It’s not that I need to be heard on this – I just would want to add my voice – but I wondered if maybe that would be unhelpful.”

Silverman, herself, had exposure – maybe that is the wrong choice of words! – to workplace sexism and inappropriateness…

“The first penis she ever saw belonged to her boss when she was an 18-year-old waitress in her native New Hampshire. He called her into his office “and I was literally shaking, thinking I was in trouble, but he was just asking me benign questions – until I saw that he was fully jerking off in front of me. And I just said…” her voice fades to a whimper: ‘I have to clean the popcorn machine,’ and I left and I never told anyone. For years. But of course those guys know who to pick on. They don’t pick on me now.”

IN THIS PHOTO: Grimes (who has been the subject of sexism and unwanted sexual advances)/PHOTO CREDIT: Teen Vogue

The point of sourcing this interview – and a couple of photos – was not to make my journalism more credible and stronger by proximity: I wanted to bring in a very strong and brave voice; a guide for women who have experienced the same problems. Maybe Morrissey’s bell-ended approach to sexuality and morals are, unsurprisingly misinformed and inexperienced – not a man who has been in a position to refuse or pursue many women – but he has acid a face-full of dirt to the argument. I am either seeing men commit great (in the pejorative sense) acts of repugnance; sit dormant and feel obliged to report such transgressions – those affiliated with these perpetrators turn a blind eye and, in some occurrences, feel nothing wrong has happened. Music is not an industry that can wash its hands and get through airport security without a thorough cavity search. There are more tumours, crooked teeth and festering boils on the body of the industry than there is anywhere else – the film industry and music world would give a pretty close battle when it comes to sexism and who is the greatest (again: regarding pejoratives) offender. I would argue music is a far more pitiful climate regarding sexism and abuse – in the sense many women do not feel they would be listened to and believed; a lot of incidents are being silenced and smothered. I know, from music videos and photo-shoots, there is inappropriate touching (from men); producers caught out and putting their hands where they have no business; male music gig-goers inappropriate in theory conduct; male musicians taking things too far and assuming a smile or affectionate word gives them carte blanch to do as they please.

PHOTO CREDIT: Alberto Oritz/Flicker

It is not only sexual assault but sexism, that concerns me: I am seeing incidents of sexism occur in every corner of the industry. Every week, when I get a slew of interview requests, you can guarantee the majority of them concern male artists. I know full well there are as many female artists as men but they are not being provided attention and publicity. I get sick of the raft of male artists but cannot refuse – or I would not have any work to do! Not only are many (of the male examples) samey, dull and unengaging: I have to circumvent P.R. companies and approach THEIR female artists myself! The fact I actively have to search for female artists shows there is rampant sexism throughout the music industry. It is not the case the men are better or more popular – far from it – but it is seen as normal to put them first and provide less attention to their female clients/artists. How interlinked is this ignorance to the presumption (among men in the industry who commit acts of sexual abuse) to the feeling women are inferior and unworthy?! There is not a lot I can do – the fact I am being bombarded with requests for male artists annoys me now – but, whilst the entertainment sector is seeing a rise in sexual abuse allegations, music needs to be accountable and take things more seriously. We all know it is a hugely sexist industry but there is very little being done by those (men) in power. Those in prominent positions need to get off their arses and assuming the music industry will not suffer the same problems as those we have seen in film and T.V. – allegations and incidents will come to light; it is only a matter of time. If we have learnt anything from recent events – and taken to heart words by the likes of Sarah Silverman – then it is clear, now more than ever, that…

PHOTO CREDIT: Getty

CHANGES need to be made!

FEATURE: “Who Runs the World…?" Incredible Female Artists to Watch in 2018 (Part V)

FEATURE:

 

“Who Runs the World…?”

IN THIS PHOTO: The Seamonsters  

Incredible Female Artists to Watch in 2018 (Part V)

___________

THIS is the final piece of the pie that…

IN THIS PHOTO: Aristophanes/PHOTO CREDIT: Puzzleman Leung

celebrates the female artists primed for big things in 2018. So far, I have collated artists from all over the world. This final instalment is British-heavy but there are musicians from South African, Tawain and the U.S. – Canada and Australia is in there, too! If that wasn’t enough; I have spanned genres and mixed together a playlist that every music-loving human should approve of!

It is a feature that showcases the strong female talent there is in music; the artists who will be better-known in 2018 – we will all become more aware of the sensational music they are producing…

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Liz Lokre

Location: Toronto, Canada

Genre: Soul

Official: https://www.lizlokre.com/

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

Lauran Hibberd

Location: Isle of Wight, U.K.

Genre: Singer-Songwriter

Official: http://www.lauranhibberd.com/

Follow: https://www.facebook.com/lauran.hibberd/

Sian Cross

Location: London, U.K.

Genres: Alternative; Pop; Folk

Official: https://www.siancross.co.uk/

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

Me for Queen

Location: Porto, Portugal

Genre: Soul-Folk

Official: http://www.meforqueen.com/

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

Siobhan Wilson

Location: Glasgow, U.K.

Genre: Alterative-Folk

Official: https://www.siobhan-wilson.com/

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

Tilda Allie

PHOTO CREDIT: @Sam Shaw 

Location: Brighton, U.K.

Genres: Electropop; Jazz, Soul

Official: https://soundcloud.com/tildaallie

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

The Seamonsters

Location: Sheffield, U.K.

Genre: Indie

Twitter: https://twitter.com/cmonstersmusic

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

Dalal

Location: Los Angeles, U.S.A.

Genre: Pop

Official: http://www.dalal-music.com/

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

Ina Reni

Location: London, U.K.

Genre: Pop

Official: http://inareninow.com/

Follow: https://www.facebook.com/ina.reni/

Lucie Barât

Location: Brighton, U.K.

Genres: Synth; Pop; Garage; Beat Poetry

Twitter: https://twitter.com/Lucie_Barat

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

Delaire

Location: London, U.K.

Genres: Electro-Pop

Twitter: https://twitter.com/Delairemusic

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

Starling

Location: London, U.K.

Genres: Pop; Alternative

Official: http://www.starlingsworld.com/

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

ILL

Location: Manchester, U.K.

Genre: Post-Punk

Official: http://www.weareill.com/

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

Emily Magpie

Location: Bristol, U.K.

Genres: Folk; Dream-Pop

Twitter: https://twitter.com/EmilySpetch

Follow: https://www.facebook.com/EmilyMagpie1/

Anna Straker

Location: London, U.K.

Genre: Alternative

Twitter: https://twitter.com/Anna_Straker

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

ZoZo

 PHOTO CREDIT: Timothy Ward

Location: London, U.K.

Genres: Mystical-Synth; Pop

Official: https://www.zozoofficial.com/

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

Ella Grace

Location: London, U.K.

Genres: Pop; Folk

Twitter: https://twitter.com/Ellagracedenton?lang=en

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

Gurr

Location: Berlin, Germany

Genres: Punk; Alternative

Twitter: https://twitter.com/gurrband

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

Aristophanes

PHOTO CREDIT: Puzzleman Leung

Location: Taipei, Taiwan

Genre: Space-Disco

Twitter: https://twitter.com/aristophanesTW

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

s a r a s a r a

Location: Europe

Genre: Alternative

Official: http://sarasaramusic.com/

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

Elliphant

Location: Stockholm, Sweden

Genres: Pop; Electro

Official: http://elliphant.com/

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

Caiti Baker

 PHOTO CREDIT: Rush Photography

Location: Australia

Genre: Soul; Rhythm and Blues and Beats

Official: http://caitibaker.com/

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

Tusks

 PHOTO CREDIT: Harvey Pearson 

Location: London, U.K.

Genres: Electronic; Experimental; Ambient; Indie; Pop

Official: http://www.tusks.eu/

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

FIELDED

Location: Brooklyn, U.S.A.

Genre: Future-Pop

Twitter: https://twitter.com/DangerousPusssy

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

Skott

Location: U.K./Europe

Genre: Pop

Twitter: https://twitter.com/skottmusic

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

Janie Bay

Location: Pretoria, South Africa

Genre: Folk-Pop

Official: http://www.janiebay.com/

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

FEATURE: There’s Steel in the Blood: Fifty Years of BBC Radio Sheffield and the City’s Rich Music Scene

FEATURE:

 

There’s Steel in the Blood:

 PHOTO CREDIT: BBC Radio Sheffield 

Fifty Years of BBC Radio Sheffield and the City’s Rich Music Scene

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ONE might look at a city like Sheffield and associate it…

with the steel-making industry and manual labour. There is that ostensive working-class mentality and ideal we have. Sheffield, as it is a Yorkshire city, is quite ordinary and predictable, right?! That might have been the impression of the area long ago by there is more than quality steel and an awesome accent to Sheffield. Two things that strike me about the city is the music and sense of community. I shall come to the latter later, but, right now, the reason behind this piece. BBC Radio Sheffield has marked its fiftieth anniversary with a rather special video. Common People is, perhaps, the most famous song from a Sheffield band – the mighty and peerless Pulp. I have been looking on the BBC website and, when it comes to the project and its make-up; they assess it in these terms:

“To mark the occasion of their 50th birthday, BBC Radio Sheffield has remade a South Yorkshire anthem - Pulp's Common People. A community choir, made up of singers from across the region, recorded a specially arranged version of the 1990's classic.

BBC Radio Sheffield presenters including Toby Foster and Paulette Edwards were joined by around 300 members of the public to film their own version of the music video.

 PHOTO CREDIT: BBC Radio Sheffield

Katrina Bunker, Managing Editor of BBC Radio Sheffield, says the film is all about bringing people together and capturing a sense of local pride: "It was really important to us that this film focused on local people, and that it reflected the unique spirit and attitude that we share in this part of the world.

"Pulp are a Sheffield band and the song Common People was one we felt people around here identify with. And the fact that so many people - hundreds of them, helped us make the film shows the whole idea really captured people's imagination.

"Now we get to share the joy and sense of community captured in the film with the many thousands of people who will watch it online.

Making the film

Filming took place at various locations across South Yorkshire and North Derbyshire including Barnsley Town Hall, Doncaster Market, a sweet shop in Rotherham and a Sheffield supertram. Lots of local people were keen to get involved in the project including the Lord Mayor of Barnsley, former MP, Jeff Ennis and a knife maker from Portland Works in Sheffield, Michael May.

The finale to the video was a large crowd scene filmed at the iconic Leadmill nightclub in Sheffield city centre - the place where coincidentally the band Pulp played their very first gig in 1980.

The finale features hundreds of BBC Radio Sheffield listeners from all walks of life from an 8 week old baby to a group of scouts and cubs to a retired bus driver and a 7 year old British bulldog called Horace who almost steals the show.

About BBC Radio Sheffield

On November 15 1967, BBC Radio Sheffield made its first broadcast to listeners across South Yorkshire and North Derbyshire. They were the second BBC local radio station to launch following BBC Radio Leicester on Wednesday 8 November.

  PHOTO CREDIT: BBC Radio Sheffield

Katrina says: "BBC Radio Sheffield is the people's radio station. We've been reflecting local life in South Yorkshire and North Derbyshire since 1967 and have been with communities through many highs and lows over the years.

"Ultimately this film is a celebration of localness. We, along with our audiences, are proud of where we live."

It seems axiomatic to say Sheffield – and Yorkshire – is defined by its character, pride and community. There is more of a sense of belonging and comfort living somewhere like Sheffield. I remember the days of Pulp and when they ruled the scene. Albums like His ‘n’ Hers (1994) and Different Class (1995) were released in the same year as the best two albums by another northern working-class band of heroes, Oasis.

Their ascension to the top of the Britpop tree was cemented with the incredible one-two, Definitely Maybe and (What’s the Story) Morning Glory? Maybe Pulp took a few albums to reach the same heights but many could claim they have had a more acclaimed, focused and consistent career – not falling apart after their sophomore album and limping to extinction. Pulp were the, to me, leaders of Britpop in the sense they were outside the circle. It is not a surprise their popular smash has been taken to heart and endures. It looks at the working-class and a life one does not hear about in music anymore. Maybe BBC Radio Sheffield is the definition of a radio station that preserves the values laid down by bands like Pulp. You can watch the video via BBC Radio Sheffield’s page - and see why the song has captivated the locals of the city.

IN THIS PHOTO: FloodHounds/PHOTO CREDIT: Mal Whichelow

I feel Sheffield is among many northern cities that do not get the recognition it warrants. The fine work done on Sheffield’s best radio station makes sure local acts get a voice but one need only look at the history books to realise what a cannon the city has produced. FloodHounds are a modern band working out of Sheffield who follows acts like The Hosts, Baba Naga and Anytown; Lonely Boy; Gilmore Trail and Blood Sport. Throw into the list Liberty Ship, The Seamonsters and Matic Mouth and there is enough to get your chops around! Black Mamba Fever, Solanas’ Son and The Hot Soles; Vultures and Deadset Dream could all got into the music and make a fantastic playlist of new Sheffield bands.

IN THIS PHOTO: The Seamonsters

Dig deeper and you will unearth a bustling scene that is promising wonderful things. I wonder why there is such a hesitation for the mainstream media to shine a light on the Sheffield music economy. It is not like there is an absence of venues for other artists to play in – cut their teeth in Sheffield and get a taste of what it is all about! Joe Cocker and Robert Palmer both played the legendary stage at The Boardwalk. The Grapes has played host to the likes of Arctic Monkeys – more on them later! – whilst The Casbah, The Leadmill and New Barrack Tavern give ambitious musicians a wealth of possibilities. Those are just a few venues one could frequent if they travel to Sheffield.

If one looks back at historic Sheffield acts, they are really in for a treat. The Human League and Def Leppard; Reverend and the Makers, ABC; Bring Me the Horizon, Heaven 17 and Moloko; Slow Club and Cabaret Voltaire. It is a packed and vibrant area of the U.K. that has provided some of the strongest bands from all of music. Maybe a lot of those acts have ended but, as I have shown, there is a new breed willing to take their place. It seems Arctic Monkeys are among a rare breed of Sheffield bands courting mainstream attention and fame. The boys might not all base themselves in the city but they have not forgotten where they came from. I have compiled two lists below: one of the new class of Sheffield acts putting their names on the map; the other puts together the classic and legendary music we associate with the city. I am glad there is such an active scene but hope, in 2018, the popular press realises places like Sheffield are being overlooked. It seems anywhere north of London is seen as ‘international’ or alien. That naivety is causing a split between the North and the South. I hear so many great groups from Manchester and Leeds; fantastic acts from Glasgow and Liverpool – that could challenge the finest London has to offer! Dispense with the divisions and judgement and realise what a heritage and fertile foundation there is in the city.

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Press

The reimagined video for Common People proves there is humour, togetherness and fortitude in Sheffield. BBC Radio Sheffield has been on air fifty years – let’s hope it lasts decades longer! I know the station prides itself on eclecticism and mixing its national and local outlook – not neglecting an artist because of where they come from or the genre they play. That is an attitude that is reflected in the people of the city. Make sure you tune into BBC Radio Sheffield and the great work they do on a daily basis. It is one of the finest BBC stations and has remained that way for five decades. Long may that remain: continuing to provide incredible music and exceptional entertainment. More than that; have a listen and investigation of the music coming from Sheffield. We all know the artists who have come before but many of us are unaware of the wonderful newbies that are making Sheffield an essential point of study. An incredible people and rich boiling pot where fine music and quality sounds bounce off every wall in the city. Here’s to the artists there and a bedrock station that shows there is plenty of life and wonder in the Yorkshire city. Sheffield will always be a vital fountain of music and quality radio. The sooner we remember that, the stronger…

IN THIS PHOTO: Sheffield's The Leadmill

THE music industry will be!

FEATURE: “Who Runs the World…?" Incredible Female Artists to Watch in 2018 (Part IV)

FEATURE:

 

“Who Runs the World…?”

 IN THIS PHOTO: Dagny/PHOTO CREDIT: Jonathan Vivaas Kise  

Incredible Female Artists to Watch in 2018 (Part IV)

___________

I may have to do a final piece that rounds up…

IN THIS PHOTO: Bonzai

all the best and most talented females in new music – those who will make waves in 2018. I have been looking around music and sourced talent from Europe, North America and beyond. The final instalment will dig deeper and take acts from Australia and Africa; get to grips with the freshest musicians who will define next year. This selection offers some great artists who cover a range of genres.

Get your ears invested in some stunning female artists already doing great work – who will carry that into 2018 and make their mark on the music scene.

PHOTOS (unless stated otherwise): Getty

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Annie Hart

Location: New York, U.S.A.

Genre: Indie

Official: http://www.anniehart.nyc/

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

RIDER

Location: London, U.K.

Genre: Dream-Pop

Official: http://www.sapienrecords.com/rider

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

Bonzai

Location: Dublin, E.I.R.E.

Genres: Indie; Alternative; R&B

Official: http://www.bonzaibonzaibonzai.com/

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

Brooke Bentham

Location: New Cross, U.K.

Genres: Pop; Alternative

Official: https://www.brookebentham.co.uk/

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

Sasha Brown

Location: London, U.K.

Genre: Pop

Official: https://sashabrownmusicofficial.com/

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

Dagny

Location: Tromsø, Norway

Genre: Alt-Pop

Official: http://www.dagnymusic.com/

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

Emily Mac

Location: Toronto, Canada

Genre: Blues-Rock

Official: http://www.emilymacmusic.com/

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

Sereda

Location: Toronto, Canada

Genre: Alternative

Twitter: https://twitter.com/allysereda

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

Ghost Caravan

 PHOTO CREDIT: Jason Cee

Location: Toronto, Canada

Genres: Orchestral; Electronic; Soul

SoundCloud: https://soundcloud.com/ghostcaravan

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

Alice Avery

Location: New York, U.S.A.

Genres: Pop; Rock

Official: http://www.thealiceavery.com/

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

Eivør 

PHOTO CREDIT: Annfrid Nejst Hansen

Location: Syðrugøta, Faroe Islands

Genre: Alternative

Official: http://www.eivor.com/

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

Shenna

Location: Woodbridge, U.S.A.

Genres: Indie-Pop; R&B

Official: https://www.shennamusic.com/

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

Gitta de Ridder

PHOTO CREDIT: Martin Abtman Photography

Location: London, U.K.

Genre: Singer-Songwriter

Official: https://www.gittaderidder.com/

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

Iskwé

 PHOTO CREDIT: Lisa MacIntosh

Location: Canada

Genre: Alternative

Official: http://www.iskwe.com/

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

Katherine Gazda

Location: Toronto, Canada

Genre: Pop

Twitter: https://twitter.com/katherinegazda

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

 

LIA LIA

Location: Berlin, Germany

Genre: Pop

SoundCloud: https://soundcloud.com/liavslia

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

Mahalia

Location: Leicester, U.K.

Genre: Acoustic-Soul

Official: http://mahaliamusic.co.uk/

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

Sera EKE

Location: London, U.K.

Genre: Electronic

Twitter: https://twitter.com/seraeke

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

NINA

Location: London, U.K.

Genre: Synth-Wave

Official: http://www.ninasounduk.com/

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

Joelle James

Location: California, U.S.A.

Genres: R&B; Pop

Twitter: https://twitter.com/JoelleJames

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

Nat Reed

 PHOTO CREDIT: Ariff Danial

Location: Boston, U.S.A.

Genre: Pop

Official: https://natreedmusic.com/

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

Bee

Location: London, U.K.

Genres: Indie; Folk; Pop

Twitter: https://twitter.com/musicbybee

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

Camilla North

Location: Bergen, Norway

Genres: Singer-Songwriter; Pop; EDM.

Official: http://www.camillanorth.no/

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

Nina Schofield

 PHOTO CREDIT: Lauren Marsh Photography

Location: London, U.K.

Genres: Pop; Alternative; Electro-Pop

Official: http://ninaschofield.com/

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

FEATURE: Raise It Up! Why Music Needs Florence + the Machine Right Now

FEATURE:

 

Raise It Up!

 PHOTO CREDIT: Getty

Why Music Needs Florence + the Machine Right Now

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THIS was the news story that got me…

PHOTO CREDIT: HANDOUT

quite excited about a few days ago.! The article/news in questions comes from NME - and it seems like Florence + the Machine are returning. I say ‘returning’ but, to be honest, Florence Welch has not left us – simply getting on with life and living as normally as possible. NME have their faults, but they are good at presenting these interesting little news stories. Here are some lines I will borrow from them:

“Florence + The Machine look set to return next year, having been announced to headline Melt Festival 2018.

Having dropped their acclaimed third album ‘How Big, How Blue, How Beautiful’ in 2015 before stepping in to headline Glastonbury in place of Foo Fighters, Florence Welch and co’s last major shows were at festivals in 2016 – including British Summer Time where she was supported by Kendrick Lamar”.

The dates are set up and it seems Welch will have a busy 2018! There have been whispers of new music but, with touring and festivals starting to form, you know there has to be something coming very soon – otherwise, it would seem odd to book an act promoting their latest album. That previous record, How Big, How Blue, How Beautiful, was released back in 2015 and scored big reviews.

The third album by Welch explored vulnerability and a difficult time for the star. It was a simpler beast (then her previous two albums) and was a stripped-back and soulful recording. The powerful vocals and drama were there but, unlike 2011’s Ceremonials, there was more calm and contemplation. The sensitive lyrics and commanding songwriting was a step forward from her older work – critics noting how she had assimilated new layers and gaining fresh confidence. If the first two albums were bombastic and declarations of liberation, growth and love: How Big, How Blue, How Beautiful was the more mature songwriting addressing new concerns and problems. I have written about another act faced with pressure and spotlight: the incredible London Grammar. The success Ceremonials gained – and the acclaim her debut album, Lungs, accrued – meant Welch was in-demand and a popular artist. Relentless promotion and touring meant her face was all over the place; everyone wanted a piece of her – balancing that with everyday life and the demands that come with it. Welch spoke with D.J. Zane Lowe back in 2015 and explained how, prior to writing the album, she had a sort of nervous breakdown. Oddly, it was a conversation with Taylor Swift that gave Welch some perspective and gravity. There is another star that has faced turbulence and an endless workload – the conversation and companionship was invaluable to Welch.

PHOTO CREDIT: Getty

When putting the bones for her third album together; the stresses and complexities of her life were laid bare. Listening to it now and one can hear how personal and meaningful the music is. Welch has always mixed fantasy and personal emotion together but, on How Big, How Blue, How Beautiful; things were much more direct and less oblique – the title seems like the heroine looking down at the big world – or the expanse of the ocean – and feeling helpless. In a recent interview with The Telegraph – couldn’t read the entire thing as it asked me to register (not a chance!) – Welch discusses her anxieties and battles with alcohol. She started the interview by explaining how nervous she gets and the need to cry is always there – although, she is not sure why. Her home, as was explained, is a small Georgian cottage with browns, greens and yellows; artworks and antiques; books packed onto shelves – not what one might expect from a mainstream star in her young-prime. I have followed her career since the beginnings and seeing her enter a new phase of her life – on the third album – was a brave mood. Rather than flirt with death and stand distant to issues: Welch embraced the need to detach from water-based songs and ground her feet onto the floor. Many would take a sharp breath were they presented with an album that differed from Lungs and Ceremonials – two big and bold records that had plenty of escapism and relief.

PHOTO CREDIT: Samir Hussein/Getty

Not that How Big, How Blue, How Beautiful is a heavy and pathos-ridden experience: it is an album that explores maturity and new challenges in life. Welch, now, is only thirty-one and, since her 2009 debut, has taken in a lot. It is not just the flame-haired goddess who shoulders the entire spotlight – her players and musicians are there with her, too. It is, however, all about Florence Welch and her life. One of the reasons the announcement of new material – what shape that will take, we are not sure – is so thrilling is the fact Welch has managed to record and make sense of her troubles. I can empathise with her anxieties and revelations. She is very honest in interviews and, listening to her speak, she is a very normal and relatable woman. I have included two rather revealing interviews; both are in a ‘showbiz’ setting and there is nowhere to hide. One wonders how Welch camouflages and evolves in a more intimate setting – sitting with a newspaper in her home; safe in her own surroundings. I watch her speak and can see the flicker in her eyes. There are nerves but there is that need to be honest and not hide anything away. The palpable emotion in her voice contrast between heart-breaking and merry-making. Welch is a woman who has sensitivity and fragility: music is a way for her to channel this and project a more confident persona.

There are so many new artists out there but few have the same sense of allure, intrigue and beguile as Welch. Many have compared her to Kate Bush and, in musical terms, there is an aspect of that. I guess we can draw comparisons between them when it comes to conversation and personality. Bush is less troubled – and has not faced alcohol demons and as much stress – but times are different now. Back when Bush starts (1977/1978); there wasn’t the openness of the Internet and the same sort of mainstream/media expectations. Bush is an artist who records in her home-studio and is comfortable in her own skin – that was not always the way; she would have felt the same problems and pressures. Florence Welch is someone who was flung into the limelight and struck a special chord. I can see the comparisons between Bush and Welch. In terms of that bond with nature and the mystical; the intelligent bent and original lyrics – tackling love and self-assessment with great wisdom than their peers. Maybe Welch’s voice is more strident and fulsome – Bush only really started to add that sheer boom to her voice a few albums in – but there are similarities hard to avoid. Both project a curious and sensual figure; both are down-to-Earth and honest; you feel their hearts beat every second they are singing. There is something immersive and entrancing about Florence Welch that makes me think of Kate Bush.

If Lungs was Florence + the Machine’s Never for Ever then Ceremonials might be – in terms of scope and subject, rather than quality – their Hounds of Love. How Big, How Blue, How Beautiful has elements of The Dreaming and The Sensual World. Roughly, you can join dots and lines between the records and see how Welch has progressed as a songwriter. One wonders how her fourth album will sound. You can dispose of the Kate Bush links as, on this record, there is going to be more revelation and honesty than ever – has a Kate Bush album ever been that raw?! I am not sure what subjects Welch is exploring but I would imagine her troubles with anxiety and alcohol will be there. Maybe there will be a slight return to the fantasy and flight of Lungs. Welch has said she is keen to disassociate from water-based themes and the same arcs – not wanting to repeat herself and be that same person. There are few personalities and figures like Florence Welch in modern music. I have seen a few new songwriters I am interested in but rarely do they leap off the page and get into the heart. Maybe that is the sign of the modern age: music is more digital; it allows less time and chance to connect as human beings. Welch is someone who gets under the skin and you feel real affection for.

PHOTO CREDIT: Eric Ryan Anderson

She is a human being who has had to overcome dark days and obstacles: her new music will assess where she is in life and try and move forward. I think Welch has also experienced a break-up fairly recently. Broken relationships have been part of her music since the start but, taking on board everything that has been happening in her life; a dislocated and fractious relationship added extra strain and weight. There are so few like her in music: those humans that can attract you with their incredible music but compel you to investigate who they are as people. Maybe the glare and hound from the press contributed to Welch’s anxieties. Touring demands hardly helped and the fact she was unable to detach from work meant the post-Ceremonials period would have a profound effect on her follow-up record. It has been a couple of years since her third album and, in that time, there has been a lot of touring and press. Maybe the songwriter has afforded herself some time off but one imagines there has been that constant pressure, personal and commercial, to get a new record out. It seems like Welch’s home is a relaxing and personal space where she can dive into books and feel relaxed among the antiques, rural décor and captivating colours of home.

The world outside her home is less predictable and safe. The woman of ‘Florence + the Machine’ is different from ‘Florence Welch’. I worry the young woman might find herself thrust heavily back into the heat of the media very soon. With a new album; the announcement comes and the inevitable barrage of interviews starts. I feel the spoon-feeding nature of modern music means from now and the album’s release will find Welch busy and unable to rest. Rather than release a record, put it out there and tour it; artists are expected to do teaser videos and make announcements; release endless singles and ensure the record is almost bled dry by the time it comes out. It is designed to get streams and downloads; to get ahead of the competition and succeed. It is a lot of pressure on the artist and I feel that kind of stress is something Florence Welch can do without. What is positive is the fact she has a new album coming out – where she can discuss her experiences and show the music world what it is missing. Every Florence + the Machine record is a wonderful and tantalising thing. Whether the fourth record will return to the grace and foundations of Lungs or continue where How Big, How Blue, How Beautiful left off – it is going to be hard to tell. Whatever form this record takes it is going to be a huge and much-needed thing. I know Welch has had to deal with a lot of anxiety the past couple of years and it is a transformative time for her. She has tried the partying and drink; she has done the celebrity thing. These, as she has said, are temporary things and phases: the focus needed to record music and continue to grow is what’s important. This will come to the fore in the new record. It is a time where we need to support the finest and most promising songwriters around and, in Florence + the Machine, we have one of the…

PHOTO CREDIT: Claire Morris/NME

FINEST acts in music.

FEATURE: Turn Up the Volume! The Brilliant New Breed of British Female Radio D.J.s

FEATURE:

 

Turn Up the Volume!

 IN THIS PHOTO: Goldierocks

The Brilliant New Breed of British Female Radio D.J.s

___________

THERE are many I have had to omit from this list…

IN THIS PHOTO: Tasty Lopez

but there is a wealth of terrific female radio talent out there. I feel, when it comes to D.J.s, there is less exposure of and spotlight on female talent. Maybe that is different in clubs and the music world but, if one looks at the major/mainstream radio stations; the majority of their members are male. I hope that changes because, as you will see from this list, their voices are incredible, essential and much-needed!

I have picked sixteen female D.J.s from the best independent and nationwide radio stations around…

PHOTOS (unless otherwise credited): Getty/Press

_____________

Arielle Free

Stations: Hoxton Radio; Pyro Radio

Bio:

"With her down to earth nature, Scottish TV Presenter and Radio DJ Arielle Free is one of the industry’s rising stars presenting Thursday’s 4pm – 6pm on Hoton Radio.

A face of the ITV family, she can currently be seen waking up the nation each weekend on ‘Scrambled.’

As a self confessed music geek, in 2015 Arielle was selected by Ministry of Sound to re-launch their radio station, taking the coveted drive time slot broadcasting live to a global audience Monday to Friday.

With her passion for new music and music festivals, Arielle seeds most of her summers hot footing it around the UK’ biggest festivals including live hosting at Glastonbury and Bestival to name but a few.

For two years Arielle was lead anchor on 4Music fronting shows “Would you rather…?”, “Feelgood Friday” and “Boxplus Live.”

Official: http://hoxtonradio.com/presenter/arielle-free/

Follow: https://twitter.com/ariellefree

Emma Conybeare

 PHOTO CREDIT: Adrian Lee

Station: Capital XTRA

On-air: Weekdays, 2-6 A.M.

Official: http://www.capitalxtra.com/radio/shows-presenters/emma-conybeare/

Follow: https://twitter.com/EmmaCB_

Goldierocks

Stations: Bestival FM; selector-radio.com

Bio:

"Goldierocks, AKA Sam Hall, is an international DJ and broadcaster with a celebrity following that includes Kate Moss, The Rolling Stones, Richard Branson, Larry Page, Giorgio Armani, Gordan Ramsay, Madonna and The Duke & Duchess of Cambridge (she's performed exclusively for them all).

Her weekly, award winning global new music radio show 'The Selector', which she’s presented for 8 years now, is legendary to those in the know. Broadcast in over 44 countries on FM, to over 4 million listeners a week; transmitted in China, Mexico, South Africa, Cuba, India, Spain, Malaysia, Russia & more. The Sunday Times has described it as "the most cutting-edge British music show out there." She also conceived the idea and now presents the specialist spin-off dance show ‘Selector After Dark’ also broadcast worldwide".

Official: http://www.goldierocks.co.uk/

 Follow: https://twitter.com/Goldierocks

Tasty Lopez

Station: Soho Radio

Bio:

"Hailing from sunny Sydney, Australia, this spicy little mama has been spinning tunes, busting vocals and making beats since she was a teen. Starting in the rock’n’roll scene with her all-girl line-up Creepers, she moved onto making big bad girl electronic beats with her duo Twincest. Then moving into production, DJ’ing and other collaborations, including taking part in Karen O’s ‘Stop the Virgens’ Opera at the Sydney Opera House.

Since relocating to London this year, she has been working as a feature vocalist with international and local artists, being played on Triple J Radio, FBI Radio and BBC Radio 1 program Diplo & Friends. She has also been cooking up some exciting production and co-writing with new artists".

Official: https://www.sohoradiolondon.com/presenters/tasty-lopez/

Follow: https://twitter.com/TASTYL0PEZ

Becca Dudley

PHOTO CREDIT: Motel Rocks

Stations: Hoxton Radio; Beats1

Bio:

"Monday’s 4pm – 6pm playing the best in reggae, dancehall, bashment, trap and rounding up the hottest gigs in London.

25 year old, Essex born Becca graduated from The London College of Fashion with a degree in Fashion Styling and Photography. On leaving she combined her passion for fashion with working as both an editor and stylist for FIASCO magazine, interviewing (amongst others) the legendary dub reggae artist Lee Scratch Perry.

In 2012 Becca was signed up as one of the new faces of MTV UK fronting daily news – 4 years on and she is their leading presenter. She currently hosts over 7 shows across MTV including her very own music show, Live Lockdown as well as covering worldwide music events with World Stage.

Alongside TV Becca has a passion for radio, she is a regular DJ for Apple Music’s international station Beats 1 and also presents her own specialist reggae and dancehall show on Hoxton Radio. She has launched her own brand DEADLY and will be putting on events in London with international reggae artist Protoje. As if that’s not enough you can also find Becca dj-ing reggae, dancehall and hip hop at major venues across London and the UK, spinning at festivals such as Glastonbury and supporting some of the worlds biggest reggae and dancehall artists".

Official: http://hoxtonradio.com/presenter/becca-dudley/

Follow: https://twitter.com/beccadudley

Moxie

PHOTO CREDIT: Vicky Grout

Station: NTS Radio

Bio:

WEDNESDAY
3PM-5PM LDN

FORTNIGHTLY

"Part of the NTS family since day dot, Moxie has held her bi-weekly Wednesday show since the stations first broadcasts. Inviting esteemed guests for interviews & mixes and breaking new, unreleased music, she’s got your Wednesday afternoons covered... Tune in to hear anything from soulful house and disco to rolling techno".

Official: https://www.nts.live/shows/moxie

Follow: https://twitter.com/DJMoxie

Elspeth Pierce

Station: Hoxton Radio

Bio:

"Elspeth Pierce hosts the Hoxton Fashion Show, Wednesdays 10am – 12pm and Elspeth Selects new music show Tuesdays 4pm – 5pm.

Style expert Elspeth has her finger firmly on the fashion pulse. She has presented all the off-court action at The Wimbledon Championships for Vogue magazine online, styled and presented live fashion events from The Clothes Show to Britain’s Next Top Model and hosted live radio shows from London Fashion Week. She is also in the thick of the action when it comes to sport having recently interviewed the New Zealand All Blacks and fronted premier league football show Betsafe Football.

As a fashion stylist and presenter, Elspeth started her career at ITV This Morning, styling models and celebs for the live shows. From there she landed a role as freelance fashion writer for Reveal Magazine and as fashion blogger to shopping centres countrywide".

Official: http://hoxtonradio.com/presenter/elspeth-pierce/

Follow: https://twitter.com/elspethpierce

Siggy Smalls

 PHOTO CREDIT: Lefteris S Primos

Stations: SISTER; Pyro Radio

Bio:

"Sometimes you can find her in front of the camera when she isn't modelling Siggy Smalls is either travelling up and down the UK from DJing at highstreet stores to some of Londons hottest bars and warehouses.Depending on the venue she can adapt to any style of music by reading the crowd or being on brand...and she isnt shy to switch up her sounds.. Picking up her headphones going back only 2014.. sounds mixing on radio and then moving to the open world siggy has put in the work for someone who has only been doing this for 3 years..Spinning tunes in the Rainforest in Costa Rica to the Nevada Dessert to the High Streets it's clear Siggy likes to spread her musical wings and play to whom desires! Music is clearly her passion and with her unique style she blends the sounds with her own style.. and last year was a life changing year for her when she was asked to DJ at one of the worlds biggest festival Burning Man with 80,000 people attending!"

SoundCloud: https://soundcloud.com/siggy_smalls

Follow: https://twitter.com/sigourney_s?lang=en

Lucid Stannard

Station: Balamii

Bio:

"Lucid Stannard is a London based DJ known for her tune selection; sewing together disco, afro, world, house and funk.

Resident of Lucy's Disco, Lucid has been spreading her wings rapidly throughout London and as far as Berlin and Croatia. Since playing at secret garden party last year, she has played for a number of well known brands and parties, including Baby G, Gottwood, Festival Number 6, Futureboogie and Percolate. Playing an array of genres from funk, jazz, disco, house, afrobeat and everything in between, it is no wonder so many people tune in to her radio shows on Balamii and Netil Radio".

Official: https://twitter.com/Balamii

SoundCloud: https://soundcloud.com/lucidstannard

Carly Wilford

PHOTO CREDIT: Jack Goodman

Stations: SISTER; Dash Radio

Bio:

"Pioneering brand new tastemaker radio platform SISTER, Carly Wilford is a ground breaking presenter and DJ with boundless energy, unstoppable character and endless drive. Down to earth, warm and honest, she gets to the heart of the artists she interviews and is not afraid to push boundaries. Creator of online hub I Am Music, she uncovers the stars of tomorrow and helps them to break the tough and ever changing industry".

Official: https://carlywilford.com/

Follow: https://twitter.com/CarlyWilford

B. Traits

Station: BBC Radio 1

Bio:

"B.Traits is a producer, DJ and radio presenter, bridging underground music from techno to jungle to house.

BBC Radio 1 Friday nights from 1 - 4am
http://www.bbc.co.uk/programmes/b01lsv7b

Eclecticism. Evolution. Education. 

Three intertwining principles that form the foundation of the career of Brianna Price. A journey that has seen her relocate from British Columbia, Canada to London, England; break the UK singles chart with her rave/bass hybrid track ‘Fever’; become an established and respected radio broadcaster for BBC Radio 1 through which she vehemently champions cutting edge underground electronic music; cement her reputation as a trusted selector at countless leading music events; and most recently become an advocate for drug education within her adopted home. Underpinning all these achievements is Brianna’s passion for sounds from across the musical spectrum, and her now well documented rampant eclecticism".

Official: http://www.bbc.co.uk/programmes/b01lsv7b

Follow: https://twitter.com/BTraits

Kate Lawler

Station: Virgin (London)

On-air: Weekdays, 1-4 P.M.

Official: http://virginradio.co.uk/kate-lawler

Follow: https://twitter.com/katelawler

Clara Amfo

Station: BBC Radio 1

On-air: Weekedays, 10 A.M.-12:45 P.M.

Official: http://www.bbc.co.uk/programmes/b039rx03

Follow: https://twitter.com/claraamfo

Harpz Kaur

Station: BBC Asian Network

Bio:

"Harpz currently presents the Weekend Breakfast Show on the BBC Asian Network (Saturday & Sunday’s 6am-10am). Alongside this she is a regular cover presenter for the Asian Network Breakfast Show.

Harpz is a qualified Journalist, and became a finalist at the Asian Media Awards 2014 under the “Outstanding Young Journalist Of The Year” category. She has worked with some big, household brands in the commercial industry such as BBC Radio 4, Capital FM, Metro Radio & 2BR where she acted as a News Anchor.

As well as keeping herself occupied in Radio, Harpz began her own Youtube Channel “DJ Harpz TV” – where she created a platform for her listeners to get to know her on a more visual basis. She used this channel to speak with artists within the music industry, which gave her the recognition she needed.

Before all of this, from a young age, Harpz had a goal that she wanted to achieve through her music and media expertise and set off on a journey that would consistently take her to new heights.

After persistence, commitment and determination, Harpz got her break-through and was given a slot on her local Radio Station – Fever FM. Harpz fan base grew bigger and bigger due to the success of her hard work through her shows and reaped the rewards after being offered the drive time slot, which took place every Saturday between 6pm -8pm – “The Strictly Bhangra Show”. After 4 years of commitment at the station, Harpz took on the role of being an admin at the station as well as presenting the Breakfast show twice a week".

Official: http://www.bbc.co.uk/programmes/b09f2njd

Follow: https://twitter.com/HarpreetUK

Toni Coe

Station: Platform B

Official: http://www.platformb.org.uk/

Follow: https://twitter.com/BigToneGrlBoss

Sian Anderson

PHOTO CREDIT: Alex Blaow

Station: BBC 1Xtra

Bio:

“SIAN ANDERSON IS A 25 YEAR-OLD MEDIA POWERHOUSE AND GRIME AMBASSADOR. ALONGSIDE RUNNING SIGHTRACKED WHICH IS HER OWN MARKETING AND PR COMPANY. SIAN ALSO HOLDS DOWN A SPECIALIST PRESENTER AND DJ SLOT ON BBC RADIO 1XTRA, RUNS YOUTH MENTORING PROGRAMME ONE TRUE CALLING WITH JULIE ADENUGA, AND IS A FREELANCE JOURNALIST FOR A HANDFUL OF WELL-RESPECTED PUBLICATIONS INCLUDING THE FADER, I-D MAGAZINE, RED BULL AND NOISEY (VICE)”.

Official: http://www.bbc.co.uk/programmes/b04dc11l

Follow: https://twitter.com/SianAnderson

FEATURE: “Who Runs the World…?” Incredible Female Artists to Watch in 2018 (Part III)

FEATURE:

 

“Who Runs the World…?”

 IN THIS PHOTO: Taliwhoah

Incredible Female Artists to Watch in 2018 (Part III)

___________

AFTER this feature goes out; there is one more…

IN THIS PHOTO: Kimbra

instalment of fine female songwriters left. The point of the feature is to oxidise and celebrate the fantastic female musicians that are primed for big things in 2018. I have scoured my mind and posts and brought together, what I think, is an essential guide to the coming year. Among the feature are acts from the U.K., U.S. and Canada. There is talent from E.I.R.E. and Australia; Sweden and Malta are in there.

The final part of this rundown will continue to blend international magic and mystery. I am excited putting together these artists: names that are going to be big and celebrated next year. Ensure you check them all out and add them to your regular rotation – a fantastic listening experience and a wonderful way to spend the evening!

_____________

Tallia Storm

Location: London, U.K.

Genres: R&B; Soul

Official: http://www.talliastorm.com/

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

Pillow Queens

Location: Dublin, E.I.R.E.

Genres: Alternative; Rock; Punk

Twitter: https://twitter.com/pillowqueeens

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

The Aces

Location: Utah, U.S.A.

Genres: Pop; Rock

Official: http://theacesofficial.com/

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

NADINE

 PHOTO CREDIT: CK Goldiing

Location: London, U.K.

Genre: Alternative-Pop

Official: https://www.nadinemusic.org/

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

Andi

Location: Caledon East, Canada

Genres: Alternative; Pop; Soul; Jazz; R&B; Electronic

Official: https://andimusic.com/

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

Sarah Close

Location: London, U.K.

Genres: Alternative; R&B; Electro-Pop

Official: http://sarahclose.co.uk/

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

The Tuts

Location: London, U.K.

Genres: 3-Tone; Indie; Alternative

Official: http://thetuts.co.uk/

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

Ashe

Location: San Diego, U.S.A.

Genre: Vibes

Official: http://www.ashemusic.us/

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

Hero Fisher

Location: London, U.K.

Genres: Soul; Alternative

Official: http://www.herofisher.com/

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

Sara Diamond

Location: Montreal, Canada

Genres: Pop; Soul

Official: https://www.iamsaradiamond.com/

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

Jack River

Location: Forster, Australia

Genre: Acid-Pop

Official: http://jackrivermusic.com/

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

The Franklys

Location: London/Lidköping/Milton Keynes/Guildford

Genres: Rock; Garage

Official: http://www.thefranklys.com/

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

 

Lial

Location: London, U.K.

Genre: Alternative

SoundCloud: https://soundcloud.com/lialmusic

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

Gretta Ray

 PHOTO CREDIT: Liam Pethick - Photographer

Location: Melbourne, Australia

Genres: Alternative; Indie

SoundCloud: https://soundcloud.com/gretta-ray

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

 

Taliwhoah

Location: London, U.K.

Genre: R&B

Official: http://www.taliwhoah.com/

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

Cryptic Street

 PHOTO CREDIT: Matthew Attard Photography

Location: Malta

Genres: Alternative-Rock, Post-Punk

SoundCloud: https://soundcloud.com/cryptic-street

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

Kimbra

Location: New York, U.S.A.

Genres: Electro; Alternative; R&B

Official: http://www.kimbramusic.com/

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

Chess Galea

Location: London/Surrey, U.K.

Genres: Pop; Soul

Official: http://www.chessgalea.com/

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

Pale Honey

Location: Gothenburg, Sweden

Genre: Indie-Rock

Official: http://www.palehoney.com/

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

MALKA

Location: Glasgow, U.K.

Genre: Alt-Pop

Official: http://www.malkamusic.co.uk/

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

Ailbhe Reddy

PHOTO CREDIT: @charlottelachaussee

Location: Dublin, U.K.

Genres: Indie-Folk; Rock

Official: http://www.ailbhereddy.com/

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

Julia Carlucci

PHOTO CREDIT: Merik Williams Photography

Location: Ontario, Canada

Genres: Pop; R&; Neo-Soul

Official: http://juliacarlucci.com/

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

FEATURE: 'The 1980s Revival': Why Revisiting the Decade Is a Good Thing for Music

FEATURE:

 

'The 1980s Revival'

IN THIS PHOTO: Madonna/PHOTO CREDIT: Photoshot   

Why Revisiting the Decade Is a Good Thing for Music

___________

WHEN I last highlighted the 1980s…

PHOTO CREDIT: Getty/Press

earlier in the year; I lept to its defence. There is this perceived – and incorrect – notion the decade was a melee of over-layered hair and tragic clothing. I have said before how dangerous it is defining a decade in such simple terms. Yes, there was a poverty of style during the time but many assume the music industry reflected that poor taste – all synthetic, sickly and mass-produced. I get tired seeing the ‘best of the 1980s’ collections and the songs that appear on them. I have nothing against Mel and Kim, Kim Wilde and Spandau Ballet but, when one sees their ilk prolifically feature on these compilations, it provides a false impression of the '80s. Those sort of artists – and the bad fashions – were only a small part of the decade. If one wants a better impression of the 1980s; type into Google ‘the best albums of the 1980s’. The list you will get big provides a much clear insight into the stunning sounds and ground-breaking  artists of the time...

IN THIS PHOTO: Talking Heads/PHOTO CREDIT: Getty/Press

From Talking Heads – they started in the 1970s but released stunning work in the '80s – and Michael Jackson; Madonna and Pixies; The Smiths and Tears for Fears – some of the world’s best records were created during this time. Maybe the Pop charts and commercial core had more than its fair amount of cheese but can we really say things are better now?! What makes the music of the 1980s superior is the quality of the Pop music; the sense of fun and timelessness we encountered. What I am finding is so many new artists, un-ironically, is that revisit of the big Pop sounds that defined that period. A lot of the inspiration is coming from artists like Madonna, Bananarama and Cyndi Lauper – the former is especially influential. Madonna is someone I have featured before, too, and her legacy cannot be overlooked – how she progressed from the innocent and ingénue Pop teenager to the innovative and boundary-pushing legend has compelled many.

IN THIS PHOTO: Bananarama/PHOTO CREDIT: Getty/Press

You can quibble about the quality of some of the 1980s’ popular artists but stars like Madonna are in a league of their own. She showed what quality and depth was possible; how you didn’t need to conform to the worst traits of the time – compromise originality for fitting into the rigid and plastic Pop charts. A lot of modern artists are creating the sort of Disco-Pop mashes Madonna was penning on her first few albums. Prince is another artists who enjoyed great success in the decade: the two artists, between them, have changed the face of music. Even some of the lesser-celebrated artists of the 1980s – ABC; The Human League and Tears for Fears – are making an impact on modern music. That romance and ability to uplift and motivate; the production sound and the simplicity – it seems to go against a music scene where advancement and evolution are taking the joy out of things. There are a few artists who know how to pen a rousing and spirited number: that is far fewer/rarer than once was. There is a seriousness and mentality that means it is difficult discovering music that makes you smile and gets the body moving.

IN THIS PHOTO: Madonna/ PHOTO CREDIT: Getty/Press

I have mentioned an artist like Madonna because her music, especially albums such as Like a Virgin and Like a Prayer, contained songs that have survived the test of time. Not only is there the aspect of the songs themselves – brilliantly written and performed – but everything tied to Madonna. There is the theatre and controversy; the celebrity and look – a complete artist with her unique sense of purpose. There are few big fashion movements and clearly identifiable musicians in the modern scene – few that catch the eye and compel you to dig deeper. For all the missteps and terrible attire of the 1980s: there was so much sensational music coming out we are talking about today. If we associate the decade with naffness and over-produced Pop syrup then, of course, there will be stigma and reticence. We need to get out of the prejudicial and cliché mindset that suggests the 1980s was a minor thing.

IN THIS PHOTO: Pixies/PHOTO CREDIT: Getty/Press

I have alluded to the great Pop that arrived but, having mentioned acts like Pixies and Talking Heads, there was a rise of incredible Alternative sounds. I have lost count (of the number of bands) who sprinkle aspects of these two acts into their own music. Talking Heads, especially, are proving popular for many contemporary artists. Even though the U.S. band formed in 1975; their 1980s output like Remain in Light (1980) hold incredible potency for new musicians. Whether overtly referencing the songs – or integrating the complexities and colours into their interpretation – it is fascinating to see. The Smiths, too, have always provided new artists guidance and I am discovering so many new artists employ various strands of their back catalogue. I guess there is something potent and timeless when we think of The Smiths. The same can be said for the head-rush, mind-alternating music of Talking Heads. If we discount a lot of the sweeter, sickly Pop of the decade; we cannot undermine some of the female/female-led artists of the time. I have mentioned Bananarama but The Bangles are another source of fluidity.

IN THIS PHOTO: The Bangles/PHOTO CREDIT: Getty/Press

Some may quibble whether songs like Walk Like an Egyptian and Eternal Flame represent their more credible side. Their 1984 album, All Over the Place, featured a fantastic version of Going Down to Liverpool – originally recorded by Katrina and the Waves in 1983. 1986’s Different Light provided Manic Monday (written by Prince) and was a more commercial effort. Subsequent albums failed to match the consistency of All Over the Place – ironic, given the title! - but it is clear, in a short space of time, the U.S. band made a huge impact on the music industry. Their incredible harmonies and timeless songs were not only a product of the 1980s: many modern artists, in their own way, are taking the mantle from The Bangles and bringing their sounds into their music.

IN THIS PHOTO: Sade/ PHOTO CREDIT: Getty/Press

If anything; I feel the 1980s revival is not going far enough. I have mentioned a few artists but listen to albums by Sade (Diamond Life) and Soul II Soul (Club Classics Vol. One) and there are lessons and inspirations to be found. The modern Soul/Dance scene has seen stronger days: I feel artists like Sade and Soul II Soul, if mixed affectionately, can provide a kick and spirit to the genres. It is debatable whether we have seen any artists as explosive as Beastie Boys and Public Enemy. Both, between them, have made a startling impact on music. Maybe the tight copyright laws mean sampling is not as easy as Beastie Boys made it look – many off-put by legalities and permissions needed to use other artists’ music. Members of Public Enemy are still operational - but the days of the U.S. Hip-Hop band have already ended.

PHOTO CREDIT: Getty/Press

I realise quite a few decades are coming back in – and never really went away – but the 1980s is one that raises eyebrows! That misconception regarding quality and fashion often distorts waters and creates a false impression. You only need listen to the wave of Pop/Electro/Dance acts coming through and keep your ears open – you can hear the influence of the 1980s coming through. I am noticing more and more artists combining the early career of Madonna with the best Pop of the decade. There are bands taking shades of Pixies, Talking Heads and The Smiths and providing their own take. I hope more artists realise how strong and inspiring the 1980s is – and getting over the viewpoint it is a weak and tragic time. It was a fantastic time for music and one that still resonates with musicians. In a music scene where predictability and commercialism are putting many off; the 1980s’ preservers are making sure music still has a…

IN THIS PHOTO: Beastie Boys/PHOTO CREDIT: Getty/Press

REAL dose of colour and spirit!

FEATURE: The Dutch Auction and the Icelandic Queen: Why Björk’s Utopia Will Define 2017

FEATURE:

 

The Dutch Auction and the Icelandic Queen:

 PHOTO CREDIT: Jesse Kanda (for Dazed) 

Why Björk’s Utopia Will Define 2017

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THIS year’s music, so far, has produced some great albums…

IN THIS PHOTO: The sleeve for Björk's album, Utopia/PHOTO CREDIT: Jesse Kanda/One Little Indian

but few explosions and surprises. Thank f*ck Björk Guðmundsdótti is here to provide a sensual dose of magic, mystery and quality – the legend will release her new album, Utopia, on 24th November. The title of this piece – the ‘Dutch auction’ part might miff – refers to the way we celebrate and adore an artist like Björk and throw our hand up as soon as something from her comes out; hoping to get ahead of the crowd and win a prize – a Dutch auction starts at a high price and, the first bidder who puts their hand up wins the prize. It might be tenuous but I was pleased with my wordplay! Of the fourteen tracks that will appear on Utopia: eight of them see the Icelandic star conjoin with other writers. Aside from Saint; the remainder are penned alongside Arca. This might sound like the artist being more collaborative but it is, in truth, how she has always done things – bringing other voices to help lift her music and add a new perspective. Björk’s ninth album is hotly-tipped and ALREADY gaining nominations for ‘album of the year’ – without hearing it; I have a feeling it will be my first choice come the end of the year. As the weather gets colder and grottier; we are going to be afforded an album of immense warmth and colour.

The Gate, the lead-off single, has turned heads and proved, since 2015’s Vulnicura, Björk has lost none of her ability to surprise and amaze. The quality up to its usual standard but the song is a more love-filled and simple track – relying on the purity of the vocal and lyrical expression: less to do with compositional and technological pioneering. I will talk about, among other things, her recent interview with Mary Anne Hobbs and the way Björk pushes technology – but I wanted to look forward to Utopia, if I may. If Utopia seems like a long wait for an album – it is only two years! – let it be known Björk started work on it straight after her previous record. If Vulnicura, in the creator’s mind, was a hell-like divorce: Utopia, as the title suggests, is the reverse. This new record is about love and finding new joy after a painful break-up. Someone who has undergone a rancorous and stressful split would naturally take time to reflect and rest. That is not the case with the intrepid Björk: she picked up the pen (or some electronic equivalent) and poured those hot and frightening emotions onto the screen/page. Rather than wallow in the depths of recrimination and accusation; what we find is a woman moving on and keen to explore the limits of new love.

 PHOTO CREDIT: Jesse Kanda (for Dazed) 

It is very Björk to announce the release of an album with a hand-written note. That is the way the world knew about Utopia. She posted the missive on social media and, just like that, mouths were salivating. The fourteen-track record is the longest of Björk’s career and signifies someone unwilling to distil her fraught and evolving status – brevity and accessibility can wait for the next album! When speaking with Dazed earlier in the year; the subject of Iceland and geographic surroundings were brought into play:

“For Björk, who grew up amid Iceland’s gnarly volcanic terrain, it’s perhaps unsurprising that her own vision of utopia is one that puts humanity in harmony with nature. “I’ve been talking about environmentalism for the last 20 years, about green energy and solar power and how technology is what’s going to help us collaborate with nature in a non-violent, amicable, collaborative way,” she says. “I talk about it a lot with my friend Anohni – she started the Future Feminism group. There’s this old argument that civilisation treats nature the same as man treats women – you have to oppress it and dominate in order to progress. I just don’t agree with that. There is another way…Emphasising these links to the natural world are the tranquil sounds of birdsong that appear between tracks.

  PHOTO CREDIT: Jesse Kanda (for Dazed) 

While some of these are field recordings made by Björk herself, others were collected by musician David Toop on the 1980 release Hekura. It’s a subtle way of linking Björk’s past to her present: she describes Toop’s recordings as one of her favourite albums, while the nature of the sounds – captured in Venezuela in the 1970s – connects to her co-producer Arca’s home country”.

It was a revealing and eye-catching shoot – I have stolen/credited shots from that interview here – that laid out the objectives and facts regarding the album:

“Björk may be searching for utopia in an unstable world, but at the same time, it seems like she’s having more fun than she ever has right now. I’m not surprised when she describes her new record as a ‘dating album’. “It’s like my Tinder album,” she says slyly. “It is definitely about that search – and about being in love. Spending time with a person you enjoy on every level is obviously utopia, you know? I mean, it’s real. It’s when the dream becomes real.”

On the subject of love, one moment on the album sticks out. While Björk says her lyrics shouldn’t be read as 100 per cent biographical, one song, “Features Creatures”, describes the feeling of seeing someone with the same beard and the same accent as a lover. Is she talking about anyone specific? “Yeah,” she says sheepishly, holding back a smile that’s creeping across her face. She doesn’t want to say any more. “I mean, I’ve thought about what I would say here – I set myself up with the last album being a heartbreak album, so everyone’s gonna be like, ‘Are you married?’ with this one. But… it’s too fragile still. I think, if I could, I’d just say this is my dating album. Let’s just leave it there.”

 PHOTO CREDIT: Jesse Kanda (for Dazed) 

Björk has been on the block long enough to know how to transition from the perils of unpredictable love and create an album that vibrates and amazes – whereas so many songwriters are keen to turn the knife into the stomach and see their sacrificial blood seep all over the microphone. The ghastly imagery is something music listeners do not need for a steady meal. Björk has had her heart kicked in the nuts but that does not mean she is ready to scratch the eyes from kittens and start huffing paint. Instead, she has rallied her soul and channelled it into, what could be, her defining album. Björk does not make bad albums – Hell; she doesn’t even make average ones! – so one can imagine the critical reaction and assessments. It is the promotion and publicity surrounding Utopia that has amazed me. Gone are the days one would see our Björk don a swan outfit and court a storm of publicity and controversy. What was always fascinating and enduring about Björk was her intelligence, perspective and outlook on the world. I will bring in a recent interview where she is in rude and fantastic form – joking and providing an illuminating insight into her creative process.

 PHOTO CREDIT: Jesse Kanda (for Dazed) 

Utopia is going to stand out from the rest, not only because of the nebulous talent of Björk, but the timelessness. We require a record that brings some light and amazement to an intrudingly black and unsure world; one that reaches into the ventricles and pulls our veins in directions akin to a puppet show – letting the blood flow happily and the head spin in all sort of directions! Arca’s input is an interesting one but, as Björk said, quite natural. In Acra; Björk discovered a huge musician and kindred soul: someone who was on the same page and did not need too much direction. Utopia is non-narrative and the embrace of love and rediscovery: it is not about hatred and feeling burned. I shall not quote and source the entire interview (Björk conducted) with The Guardian - lest I be accused of creative impotency – but there were periods and paragraphs that stood out. Conducted in a Reykjavík hotel – where Björk turned up feeling a little scruffy and grungy – it saw the heroine reveal the background, process and D.N.A. of the album. Early on; she reflects on the period between Vulnicura and the seeds of Utopia:

“We did the final gigs for Vulnicura in Carnegie Hall,” she remembers, “and they were so tragic. Everybody who ever had a broken heart ever was there, and they were all telling me their stories. It was really sweet and, genuine, you know? And with the performances, I was like: ‘This has to be discreet, and treated with grace.’ But after the first one, I almost felt guilty. Because the whole room was crying and I was not. Me and Alejandro [Ghersi, AKA electronic artist Arca, who worked on Vulnicura] were guiltily drinking champagne in the back going: ‘Next time we’re going to have fun, OK?’ I wanted this album to go towards the light. You indulge in the grief to a certain point, but then you have to be a little bit Pollyanna.”

PHOTO CREDIT: Santiago Felipe/One Little Indian

That sense of numbness and guilt is not what one would expect from a musician who was at the core and foundation of the turbulence. Speaking of the frightening times we live in – and juxtaposing that with a frame of positivity – Björk explained the need to inject hope into her new music:

“Another idea of utopia came about because, in these scary Trumpian times, she wanted to show that optimism is a choice. “He got elected when I was two years into the album,” she says, “and I felt like, OK, it’s really important now to be intentional. If you feel this world is not heading the right way, you have to be DIY and make a little fortress, over here to the left.”

Björk talked about talked about the way she connects inner-emotions and notations; how her love life has been and whether she has been active in the dating scene. On the first point, she revealed this:

“I don’t know that I got all this from one listen, though the sense of wildlife, physical space and bliss was very strong. My notes say things like “epic, full of nature”, “rattle (monkey sounds)”, “flutes gorgeous, beats tough, transcendent”. I did get the idea of a new place, of women supporting women, of rejecting old systems (in Tabula Rasa, she sings: “break the chains of the fuck-ups of our fathers”). There’s also – excitingly – strong hints of a new lover (Blissing Me: “I fall in love with his song”). And the feeling of the end of a difficult relationship, of moving forward (Sue Me). Though I may well be being too literal. Björk laughs when I quote lyrics at her, and ask her about her love life”.

PHOTO CREDIT: Santiago Felipe/One Little Indian

When it came to the posing of love and prolificacy in the dating scene:

“Oh for me, that word is so ridiculous!” she says. “In Iceland, especially in my teenage years, we didn’t date. You just went out and you got plastered and you woke up the next morning with someone and… And you married them! I definitely don’t date, like go to a restaurant all dressed up..In a recent interview, Björk called Utopia “my Tinder album”. “Yes, because I thought that was hilarious, but obviously I would never be able to be on Tinder.” What she’s talking about, really, is fresh experiences with new people: the excitement and sexiness and clumsiness of those encounters. “People trying things out, and rejection, both ways. We all have chapters, and then when you start new chapters, it’s like: ‘I’m walking down the same streets I’m always walking down, I’m wearing the same clothes, but it feels like I’m on Mars.’ In the best possible sense, but also in a scary sense. I missed being this emotional explorer, I enjoy it.”

The reason I have so eloquently – and semi-legally – cribbed from these interviews is because they show how prolific, captivating and compelling Björk is – and the fact I will never get a chance to interview her! I would urge people to investigate the interview conducted between Björk and Mary Anne Hobbs - that clearly shows mutual affection and trust. It is a candid and imaginative discussion that reveals a lot of things we did not know about Björk.

IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Laura Lewis

That should – if you read the full interviews; the others conducted around this time; the one she gave to Hobbs on BBC Radio 6 Music – all the information and revelation you require! So, then; why is Utopia going to be the album to rule 2017?! It might seem flippant saying “Because Björk made it, dumb-ass!” so, if you need further rationale; you need only look/listen to how she discusses the record to know how much it means. Few artists afford the media adequate time and attention, Maybe that is because they do not possess the cachet of Björk – and people don’t want to waste a lot of time with someone not worth it – but it is the fact few have anything that interesting to say. Every Björk interview is a transformative experience: it seems Utopia is an aptly-named album that finds the middle-aged artist entering a new phase of life and embrace a positive aesthetic. So many of her peers either bury the bones of disabled love or pen an album filled with acid, toxicity and regret. That is not the case with Björk. Utopia will offer guidance to a flaccid scene that finds love-related records take a negative spin. I mentioned how Björk has reinvented the wheel and pushed boundaries regarding recording and promotion. For Utopia; she is allowing purchasers the chance to pay via ‘cryptocurrency’ – a novel and modern way of buying material – but, looking back; she has always been an innovator.

PHOTO CREDIT: Santiago Felipe/One Little Indian

Pro Tools have been a backbone of her material and popularised long ago – other artists have followed suit - but Björk was one of the first proponents. Sibelius, a piece of software, was used around the recording of Vespertine. It was used for creating string arrangement and allowed Björk to have an orchestra contained within her laptop. Melodyne is the ruination of Pop records but, for Björk, it was used for pitch-correlation and adjustment – used to enhance and alter a piece of music to spectacular effect. Virtual reality was embraced when promoting Biophillia – although Björk’s dream of a series of 3-D videos came to nothing; it was an idea that intrigued many. I am not sure what techniques and technology-pushing feats we will see in Utopia but, the fact the announcement of the album was done via a primate hand-written note; perhaps Björk is returning to a more rustic and simplistic format – in a way, against the tide of digital suffocating, producing another masterful left-turn! I cannot wait to see the arrival of Utopia because it will be one of the most talked-about albums of recent years. The fact Björk has undergone such an emotional change has seen the timid caterpillar emerge the luminous and radiating butterfly! All of this – the heartache, redemption; the new lease and inspiration – will formulate and conspire on 24th of this month. The quality will be sky-high but it is the story and history of the record that will tip it over the edge. No other album this year has the same flesh and fingerprints as Utopia. I am pumped and prepared for the earthquake-orgasm that is about to befall the world. Not only will the sonic and lyrical elements cause floods and storms: the emotions and infusions from Björk will take her career to new heights. I truly believe, when Utopia hits, it has the potential, its own and real way, to change…

 PHOTO CREDIT: Getty

THE fabric of modern music.