TRACK REVIEW: Cormac O Caoimh - Silence and Sound

TRACK REVIEW:

 

Cormac O Caoimh

 Silence and Sound

 

9.5/10

 

Silence.jpg

 Silence and Sound is available at:

https://cormaco.bandcamp.com/album/silence-and-sound-single

GENRES:

Singer-Songwriter; Folk

ORIGIN:

Cork, E.I.R.E.

RELEASE DATE:

15th September, 2017

The album, Shiny Silvery Things, is available at:

https://open.spotify.com/album/7x9gKK4KX0B1Vg7zJXv41k

_______

I always aim to keep reviews relatively brief…

but, when approaching a subject, find myself going on forever! That is going to be the case when I tell you about Cormac O Caoimh. When assessing O Caoimh; one must talk about a number of things. I shall start, I think, by looking at Ireland and the variety of landscape – not only geography but musical. Then, I will come to investigate more established/mature artists and longevity in the music industry. From there, rather niche, I want to look at Joni Mitchell’s album, Blue – as an example of a Folk album that has stood the test of time. O Caoimh’s songwriting has been heralded and celebrated by big publications and gained kudos around the world – I need to address that. Finishing off with a word about the underappreciated nuances and pleasure of a finely-crafted lyrics. Let’s talk about Ireland/E.I.R.E. and the sheer depth of its art. Yesterday, when reviewing Dublin-based Indie-Folk artist Blake’s Fortune (John Lennon); I was stunned by the artists coming out of the capital – so many different flavours and varieties of a musician! It is amazing how many great musicians Dublin has in her midst. I have never been there but, from reliable testimony, there is a very strong and productive music economy. That does not surprise me because, looking at O Caoimh, and one discovers a musician who feeds and writes from that energy and supportiveness. Although he is from Cork; that gives me chance to look at that part of the country. Many might look befuddled and perplexed when being tasked with naming famous musicians from Cork. It is a part of the world not many are over-familiar with. I, myself, have a little knowledge of the place but, bringing to mind a couple of artists, it is clear there’s a healthy music economy there. Miracle of Sound (Gavin Dunne) has made headlines because he has wracked-up millions of views on YouTube. His speciality is writing songs based on fictional characters – including those from Breaking Bad and Guardians of the Galaxy. The music, it has been written, provides uplift and hope for a long of young people; a niche and original take on songwriting – no wonder he has amassed a loyal fanbase.

Altar of Plagues and Simple Kid are (diversely) two artists that call Cork home – it is a county that has produced some fine musicians but does not give the credit it deserves. E.I.R.E. is a wide and varied landscape so, depending which part you travel to, the sound is likely to change. What amazes me about Irish music is the fact people like Cormac O Caoimh are world-class and established – yet there are many here yet to discover him. That is not his fault but the media, to an extent, who tend to stick with particular kind of artists. I often wonder whether we overlook certain nations and genres because it does not fit into the traditional moulds and commercial remits. Regardless of sound and quality; music should be a meritocracy that promotes the finest and most pure – rather than those with a certain look, mannerism and attitude. O Caoimh is a notable and dignified artist who has crafted some of the world’s finest music – over the years – and is one of those songwriters we should use as a guide and inspiration. There are few who can pen a lyric like him and I wonder how much that has to do with his surroundings. I mentioned how evocative and diverse the Irish landscape is. Such is the beauty of the surroundings; songwriters cannot help but be moved and compelled by what they see. I know O Caoimh borrows and sources from his own life but I wonder how much of nature goes into that extraordinary music. It is interesting to ponder but, one knows, the nation, in general, is a key Muse. One wonders whether O Caoimh would produce the same quality of music was he based somewhere like London. I will move on to another point but wanted to recommend people investigate Irish music more. From Dublin’s hard-hitting and memorable Pillow Queens to the likes of Blake’s Fortune; the eclectic mixture of musicians one can find in all the counties – it is a stunning country that warrants huge acclaim and attention. I hope that will come but, for now, there are steely godfathers like Cormac O Caoimh who are leading a noble charge.

We often think of music as being about fresh and brand-new artists. I think there is undue focus and exposure towards the younger artists of the music world. One cannot call music a young person’s game: they cannot see someone like Cormac O Caoimh as being irrelevance or deserving of less acclaim. To me, the finest music is made by the finest artists – regardless of age, situation or location. The media seems to place too much emphasis on the youth of music; they ignore the established artists that have made an impact and are producing sensational music. I will bring in publications like Mojo, who have backed O Caoimh and his latest album, but it seems strange we still promulgate the young and ingénue above everything else. It is vital we offer encouragement and help to those brand-new but the spotlight is put on age rather than quality. I know Cormac O Caoimh has a big fanbase but there are many here yet to discover the wonders of his craft. Even if you are not a fan of the Singer-Songwriter/Folk genres; one cannot ignore the beauty, appeal and effect of his music. The only reason music progresses and inspires new artists is those stalwarts that lay down their marker and survive the tests of time. One of the saddest things about music is how disposable and unpredictable it is. I have seen many terrific bands and artists produce wonderful music; only to be overlooked and see their career end. There are others who have a cliché and commercial sound that manage to succeed for years to come. It is baffling so, for that reason, we must look to those musicians that have been providing the world music for many years. O Caoimh has been around a while but does not rest on his laurels. Rather than repeat earlier sounds; he continues to evolve and search for fresh inspiration. That quality remains the same but the subject matter leads to discovery, compelling avenues and some of the most beautiful music around.

How sad a music world where there seems to be so much imbalance. I have talked about sexism and racism in music – and how we NEED to make improvements and changes – but there is an interlinking trouble that worries me. I shall not call it ageism (I am sure O Caoimh does not want me to think of him as old) but it is, let’s say, experienceism. That word would be perfect to describe the comparative ignorance established musicians are afforded in music. I know a host of artists who might not have lit the charts up but has been producing consistently beautiful and strong music for years. We are still proffering those artists young, sexy and vibrant. Naturally, there are a lot of young artists who do not get attention simply because of their looks – they still have to work a lot harder than they should. I am not sure whether Cormac O Caoimh is disgruntled by the fact he has to work harder to get the same affection of a lot of brand-new artists but I guess he is happy knowing so many people respond to his music. Regardless of the fact, it would be nice to see the Cork musician ascend to a new peak. I have only recently come across his music so I wonder whether, with better representation, I would know about it a lot earlier. It is down to the media to show equity and parity with regards promoting music. I know one must concentrate on new albums and foster those making their way into music. That cannot come at the expense of artists who have worked for years to earn respect and acclaim. They cannot be reduced to the back pages and afforded a few column inches. I will rest this point but, if anything comes out of this diatribe, it is to force the media to re-evaluate and reassess the way they promote artists. There needs to be that fairness so the likes of O Caoimh are brought to a wider audience. He is doing a sterling job getting his native Ireland involved but one can only wonder the international possibilities were his songs to be provided adequate promotion by the mainstream media.

It may seem inconsequential mentioning an album like Blue but, when thinking of Joni Mitchell’s writing style; I think of O Caoimh and the way he pens. That album is forty-six and is enduring because it is so universal and affecting. Its longevity and fame exist because of Mitchell’s ability to make her personal songs speak to every listener. It is a record that is flawless and shows so emotion, revelation and honesty. Focused around, mainly, relationships and experiences: a wondrous creation that has inspired countless musicians to put their voice on record. Before the album was recorded, she broke up with songwriter Graham Nash. When it was being made; a relationship with James Taylor turned sour – heroin addiction and other troubles (Taylor) did not help – and many of the songs address the reasons behind the split. The reason I mention it alongside O Caoimh is the fact he, like Mitchell, can write in the most sumptuous and tender way. His voice is more accessible and refined than Mitchell – some feel her voice a little raw and atonal – but that is the beauty of her appeal. It is gorgeous but does have those moments when it flies and wanders. That expressiveness and stripped-back openness is something I hear in O Caoimh and his album, Shiny Silvery Things. I have not really alluded to the album – I will do more – but, listening to his upcoming single, Silence and Sound, it seems to be a song that could have come from Joni Mitchell’s heart. What strikes me about Cormac O Caoimh is the way he summons sensational poetry and imagery but does not let the words do all the talking. The performances and compositions speak volumes and project incredible images and emotions. The same can be said of O Caoimh’s expressive and assured vocals that have the same gravitas and richness as Mitchell. Perhaps Shiny Silvery Things is not the equal of Blue but, in many ways, it has similarities. Perhaps, too, the background is not as turbulent and fractured but, when listening to the songs, I get a real sense of a songwriter wrestling with some harder times but, in essence, providing the listener with the most personal and perfect music possible.

Previous albums from O Caoimh have been concept-based and looked at specific narratives/arcs. Here, there is a more traditional mindset that means there is greater lyrical/musical freedom. Another reason I wanted to compared the moody hue of Blue with the sheen of Shiny Silvery Things is because of the range and confidence displayed within. When Joni Mitchell released that seminal album in 1971; it resonated with critics and the public because of the vast array of pleasures. Songs did not simply repeat one another or stick to a simple theme. The finger-picking sublime throughout; the stories compelling and diverse; the singing always captivating and nuanced – a rich bouquet of sounds that, no surprise, have been inspiring musicians since its release. O Caoimh’s latest record mixes genres and does not stand still. It is a curious and agile album that, given its title, suggests something inattentive and dazed – it, actually, focused and alive. I am amazed by the songwriting quality throughout and how it seems vintage and modern at the same time. It has that quality and prowess of Blue and manages to sound completely new and traditional. Both are complex and stunning works but, like Joni Mitchell, one hears a stunning songwriter whose words are among the finest in the world. I do hope the promotion and media situation changes so albums like O Caoimh’s latest endure and survive decades down the line. I am sure he wants to inspire the new generation and make sure his music is protected and shared many years forth. I look at Blue and, when Mitchell was assessing her position at the time, she felt like she had no defences at the time; no secrets left and she was like a cellophane wrapper on a pack of cigarettes. There is a rawness and personal vulnerability from O Caoimh but, unlike Mitchell, he mixes in optimism, uplift and hopefulness.

I am pleased O Caoimh has seen Shiny Silvery Things get into the ears of the guys at Mojo. They felt each song superglued to the memory and made an indelible impression. Others, with slightly less articulate views, saw the album as a mix of genres and a Pop-y, Jazz-y kind of thing. The record has gained kudos in Ireland but, unlike other efforts, made an impact around the world. It is the praise from Mojo that really speaks to me. They, unlike publications such as NME, have a broader remit and tend to look at a greater range of artists. So many magazines and sites focus on a certain set of albums but Mojo go further and look at albums one might not normally see reviewed. It is a shame to think O Caoimh is a niche artist but that is the fault of the media. Mojo’s passion for representing the best music in the world means they sat down and spent time with the album. Looking at the songs – seeing them as “Acoustic gems” – they understand how the music enveloped the imagination and demanded repeated listens. I do not have the same sort of time to review the entire record – lest my fingers fall off! – but I will be looking at O Caoimh’s forthcoming single. I only wanted to mention getting great reviews from big publications because it shows how good an artist is and the fact they deserve wider appeal. It would have been good to see the likes of NME and The Guardian to spare more words; get all the broadsheets sparing more time promoting the record. It is heartening seeing Shiny Silvery Things collect kind words from some respectable sources. I will try and lend my positivity to the mix but, lacking the same reputation as Mojo, know this is the start of bigger things for O Caoimh.

Let us move onto lyrics and making sure your words are as fine and concise as possible. There is a division in modern music between artists who can pen exceptional and memorable lyrics – those who prefer something shallower and less assured. That might seem cruel but one cannot underestimate the importance of words. It is the heart and soul of every song; the storybook and narrative that defines the moment. There is a lot of importance to be found in the music and vocals but it is the lyrics that, to me, represent a track best. Making sure you craft lyrics that have intelligence and meaning is as vital as anything. I see so many artists create lazy and uninspiring lyrics and that, in turn, will reflect negatively on future generations. Maybe it is a problem that exists in the mainstream. There is such a proliferation and focus on those chart songs that are, usually, not defined by depth and intelligence. The average listener – teenagers and the very young – want something easy to remember and chantable. The music is often pumped and energised; the vocals primal and spirited; the overall package designed to be heralded and loved by those who do not necessarily have a great understanding of music’s past. I guess the mainstream has always been like that but, lately, I am seeing too many annoying Dance and Pop songs being highlighted for the wrong reasons. There is such emphasis on streaming figures and views – often, these come because of songs/videos that promote sexualisation and subjects not tied to the music itself. One cannot get a true impression of quality based on streaming figures: one needs to truly listen to a song and judge it without any outside influence. I have been listening to a lot of modern music and find it is those artists away from the charts, as you’d expect, producing the finest lyrics. O Caoimh is a songwriter that has been creating music for years but always been an exceptional writer. I look at his words and am instantly transported to a wonderful place.

There are few that can deny the strength and personality one finds in O Caoimh’s songs. Some of the lyrics are oblique and demand unique interpretations: others are more clear-cut and cannot be misunderstood. Poetry and intelligence run through all of his lyrics and, because of that, songs like Silence and Sound should be getting more focus from the mainstream as a guide to young songwriters. I have mentioned publications like Mojo but, if one looks at O Caoimh’s official website – link at the bottom of this review – there are plenty of sites that have heaped praise on his current album. Similarly; the songwriting is not purely Folk and Mitchell-esque. I mentioned Joni because of her lyrical strengths but, in terms of compositional and thematic exploration; there have been comparisons to Paul Simon and Paddy McAloon. Those are lofty comparisons but deserved when you listen to O Caoimh’s music. I am a big fan of McAloon and love his witty and wonderful words. He is someone who can write about the heartache and complexity of love (When Love Breaks Down) and, via Prefab Sprout, pen sillier songs like The King of Rock and Roll. Paul Simon, too, has a diverse pen and someone I can see a lot of in Cormac O Caoimh. It is intriguing watching the scenes and stories unravel on an album like Shiny Silvery Things. I have a lot of respect for O Caoimh for he is a writer that seems to speak to the masses. It is no coincidence he has managed to accrue such a wealth of positive reviews – seeing as his music addresses common concerns but does so with a lot of unique perspective. Throw in a sumptuous and alluring voice and a masterful musician of epic repute – you have a true star that should act as how young songwriters should be doing things. It is those words that, to me, define O Caoimh and what makes him so special.

I will come and look at O Caoimh’s forthcoming single soon but, to end this section, a slight return to Ireland. It is hard linking geography and the people to a certain type of music but, as I mooted earlier; one could not expect to see a songwriter like O Caoimh in London. Maybe it is the stress of life (in London) or the easier pace of Cork. I feel O Caoimh has more room to think and dream in Ireland. Maybe it is the people and community that compels his mind and leads to some of the wonderful songs we hear. I am not sure but know the country has such a wide range of art and culture. It is a part of the world that many overlook but, take a trip there, and you will discover incredible music, wonderful poetry and some of the finest writers anywhere. That is true of O Caoimh who is a treasure of the nation. His music has always garnered respect but it seems, right now, he is hitting new heights and finding fresh inspiration. There are so many great Irish musicians around so I wonder how instrumental having that close-knit network is. E.I.R.E. is somewhere we should all be looking towards because, as we can see with O Caoimh, he is getting a lot of fond praise. There are few as able to take from the surroundings and dip into his heart. He has that innate ability to speak about the intimate with grandeur and compress the epic landscapes into something portable and close. That is a talent that cannot be overlooked - and skills that have taken the time to craft. The Irish musical magician has left critics spellbound and, aside from his wonderful talent, I have the feeling the people around him are responsible for some of that success. It is interesting to wax and wonder but, when Silence and Sound is unveiled, I think O Caoimh will get a lot of gig requests around the world. I have talked a lot about Cormac O Caoimh and issues related to him but not come to the main event: the issue of reviewing Silence and Sound. I must get on, then…

It is the way O Caoimh articulates and announces his lyrics that really gets to me. The opening verse – “Time is like a church/Its signs remind me/A choir of ghosts sing rhymes/A bell tower chimes/Statues stand still in lines/Silence and sound remind me” – changes course and speed as the words are presented. There is a fast sense at the beginning but elongated; syncopation and a breeziness that all occurs over a few lines. The composition is largely composed of strings but it is such a fulsome and flourishing thing. Rather than delicate acoustic: one gets a rush of various tones that create a near-symphonic rush of the ocean. The lyrics, let’s look at them, maybe there are regrets and haunted memories. That ‘choir of ghosts’, as it is sung, might refer to past memories and bad times. There is something distant and oblique that means one can interpret the lyrics how they see fit. The way O Caoimh delivers the words mean they come to life a lot more readily than you’d normally hear – so many other artists would make the presentation simplistic and obvious. Instead, I was looking at past romances and some regrets. That ecumenical foundation gives the song a sacred and dignified skin. “A lover’s spurring tongue” and “Young love undone” are brought in and it makes me think it is less about O Caoimh and his testimony – more about observations and the nature of love. One can understand the comparisons to Paul Simon: it is easy seeing similarities in the lyrics and the way the music is delivered. So much emotion and physicality is evoked from the words; the singer skips and hovers; he delights and distances in equal measures. It is that oblique nature that keeps coming through. I look at the song as a paen to the diversity and balance of love: never being able to predict it; everyone has their own ghosts and takes something different from it. Every O Caoimh song, to an extent, is based in personal experiences so I wonder whether there are demons he is trying to bury.

There is light and darkness; shadows and shade – plenty of light and contrasting embers. One hears a real and honest voice present something meaningful and meaningful. What O Caoimh is talking about is up to you but one is seduced and entranced by the words. If you are not affected by the complexities of the lyrics, then that rich and rewarding composition surely has to be highlighted? It brings in some burning desire and refinement. There is all manner of shades and contours working away in the compositions. O Caoimh’s voice holds everything together like a priest administrating to his flock. I delved and dived into the song, following O Caoimh as he sings, and was traversing the graveyards and woodlands one hears about. The vocal continues to extract pleasure and delight with every line. It has that unpredictable nature where some words are rushed and others are given more attention. It makes the song nuanced and, when you revisit it, you’ll find something you do expect. There are backing vocals and ethereal backdrop that heightens that sense of tease, intrigue and beauty. In the same way Nick Drake talked about time as being cruel and provoking; O Caoimh, in his most interesting offering, reveals more pieces of the puzzle – “Souls walk where once
Walls stood years and months”. Time takes on different aspects and can be kind of foreboding. It is this thing that bonds and defines us all and, depending on your situation in life, can be a blessing or curse. There is a sense of loss and people passing through. Where once something physical stood: now, there are memories, spirits and the spiritual. Time, as later revealed, is a clique that watches how you bow and who you do it to. It can shut the door hard and ignore you. It is interesting listening to O Caoimh sing and what his words can do. They have such power because every listener will have their own views.

Rather than being painfully straightforward and obvious; we get lines that are poetic and deep. It takes a long time before all the images coalesce and you can form a story. Silence and Sound is a contradiction of a title and that is a pretty appropriate representation of the track. It looks at time and passings; the nature of being and belonging; how love can go fast and endure for years. Whatever the inspiration for the song; it is obvious it has a special place in O Caoimh’s heart. Maybe it reflects a lost love or a general view of the world. The crosscurrent emotions of love and romance might be behind the story’s truths. I am not sure but have loved investigating the song and how it resonates. It is a very powerful and fascinating song that shows how strong Shiny Silvery Things (album) is. Few will come away from the song not being enriched and improved. It is a fantastic song that recalls songwriting greats but, the way O Caoimh sings his lines, it is almost like nothing else out there. I am not shocked his music has gained huge reviews because the best songwriters are those that go beyond the obvious but ensure their music remains appealing to the masses. That is what one gets from Silence and Sound. It is a treasure of a song and fabulous moment from Cork’s very own Cormac O Caoimh.

I have talked about a number of things and shall, briefly, return to one or two before I close things. Before then; it seems like Cormac O Caoimh’s next few months are going to be busy. He has dates around Ireland and one hopes he gets to the U.K. very soon. He plays Clare and Dublin before the year is done but I know he would go down a storm in London. In fact, there are so many cities that would love to see O Caoimh play. I know he would be welcomed in Manchester, Leeds and Glasgow; some of the smaller areas - maybe some international dates could follow? Who knows how far he can go but one thing is for sure: the music one hears throughout Shiny Silvery Things is of the highest order. I am not sure whether there is new music planned and how far ahead the Cork musician is looking. He is a prolific artist so I know there will be ruminations and ideas in the back of his mind. I look at O Caoimh’s social media feeds and come to the conclusion he deserves a lot more fans. He is doing his utmost to get the music out there but it is incumbent on the listeners and fans to get the music to new realms. I can see recent pictures that show him on the road at some of Ireland’s finest and most evocative sights. It is small wonder he feels so comfortable and ‘at home’ in the country. Perhaps he does not want to travel and stray too far but there is plenty of energy in the legendary songwriter. He has a lot more to say and many more songs inside him. That worldwide tour will come but, right now, he seems happy playing and seducing the audiences of his native country. Let’s wrap things up but, before that moment, I want to return to Irish music and longevity in music; a little about musical diversity and acclaim O Caoimh has been receiving.

Let’s return to that last point because one cannot underestimate the importance of those big reviews. O Caoimh is held in high esteem and is an artist that has struck the heart of publications and sites all around the world. A lot of the praise has been local but it is heartening to see the big music magazines throw their weight into the agenda. Mojo are an example of a huge name who has taken the time to listen to Shiny Silvery Things. It is an album brimming with imagination, life and quality. Reviewers have been aghast because Cormac O Caoimh is an artist impossible to pin down. He mixes styles and, at once can be quite simple and direct; the next, he is inscrutable, complex and deep. The same can be said of his music that does not stick in the Folk/Singer-Songwriter realm. He does not unleash an unexpected Dance banger but there is array and diversity to be discovered in the Irishman’s work. Consider a song like Silence and Sound and it represents one of the deeper and more contemplative aspects of the album. Second Hand Clothes is different to Born and Big Mirror. The songs all have their own dynamic but there is that distinct sound and personality that unifies the entire album. It is no surprise O Caoimh has gathered effusive reviews and been celebrated by a vast array of reviewers. Longevity and diversity can be interlinked but, in O Caoimh’s case, he has managed to survive and prosper because of his variations and inherent talent. From those concept albums to his latest record: an amazing songwriter that continues to write the finest music around. There is something about his songs that stay in the mind and rattles around the brain for many weeks. I have been listening to various songs on Shiny Silvery Things and, each time I hear them, take something new away. That is the mark of a quality songwriter who knows how to captivate an audience.

I will wrap things up but state how important Cormac O Caoimh is to our music landscape. I opened by suggesting there is too much attention paid to younger artists. O Caoimh is not an old man but he is not a twenty-something (young) buck leaping onto the scene. There is a hard ethical dilemma to address. Many sites and reviewers have to support the new breed and ensure they get all the support they require. That being said; one cannot compromise the music of the more established songwriter. O Caoimh has been performing for years and built up a reputation based on exceptional songwriting and consistency. There shouldn’t be a point of a career where artists are being ignored and confined to narrow sources. If it is not ageism that there is a certain ignorance of focusing entirely on new/mainstream music. It is just as well magazines like Mojo go further and represent the full spectrum of music. Second Hand Clothes, the first song released from Shiny Silvery Things, has reached more than two-million listeners around the world and thirty different stations. That is no small feat and shows there is a lot of love for O Caoimh. Let me wrap things up because, as you can tell (I hope) from my words; there is so much to recommend when it comes to the Cork treasure. I love Silence and Sound and it is one of those songs that makes one forget their troubles; enriches their mind and remains in the memory. That is the mark of an artist who is unlike any other and deserves a lot more success and acclaim. Cormac O Caoimh is a songwriter that should not be ignored…

DARE one ignore that fact.

_______

Follow Cormac O Caoimh

TRACK REVIEW: Blake’s Fortune - Heart’s Roulette

TRACK REVIEW:

 

Blake’s Fortune

 Heart’s Roulette

 

9.3/10

  

Heart’s Roulette is available at:

https://blakesfortune.bandcamp.com/track/hearts-roulette

GENRES:

Folk; Americana; Indie-Folk

ORIGIN:

Dublin, E.I.R.E.

Vocals, Guitars and Percussion: John Lennon
Bass: Dave Buttner
Clarinet, Backing Vocals: Sarah Gallagher
Fiddle: Eileen O’Driscoll
Banjo: Lily Gems

The album, Hello World, is available at:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

RELEASE DATE:

20th March, 2017

All songs written by John Lennon. 

Recorded from August 2016 to February 2017 at The Windmill in Dublin. Additional recordings at The Cottage in Aillebrack, Rory & Lily’s in Sallynoggin and Damo’s in Glasthule. 

Mixed by Tony Harris (tracks 1, 3, 4, 5) and Damien Walsh (tracks 2, 6, 7, 8, 9, 10). 

Mastered by Fergal Davis. 

Lighthouse at Point Reyes by Briano. 

Art Direction and Photography by Céline O’Donnell. 

_______

THIS weekend, I get to look at two male artists who…

hail from the same sort of part of the world. It is great to subject myself to Irish music and, in this case, Blake’s Fortune. That is the moniker of Dublin-born John Lennon so, as you can imagine, using his real name might have been a bit confusing – or else led to some lofty expectations. There are few, in the world of music, that do things quite like him.  I will come to John Lennon’s creative half in a minute but, right now, I will address a few subjects. Among them is Americana and Folk music; Dublin music and venues there; wishful/romantic music; male singer-songwriters and standing out from the crowd – artists who can provide beauty and lyrical/compositional range on debut albums. I will end things with social media and upping the visual side of music, too. I often get to look at Folk music and its various incarnations. I am not sure what it is but the genre is starting to grow. Artists are bonding with it and, like no other time in modern music, it is seeing more recruits than ever. To me, it represents a freedom and flexibility that most genres do not. There are those who say Folk is quite a boring and specialist medium. I would argue against that but, taking their side, suggest one could not listen to a lot of like-minded Folk artists for too long. By that, those performers who play rather placid and calm music – sounds meant to soothe and seduce the soul. It can be difficult listening to songwriters who do not get out of second-gear but, in the case of Blake’s Fortune; there is such a variation and depth one doesn’t fall into that trap. Yes, there is a lot of romance and tenderness but other sides to the artists. Recently, I investigated Folk and how multifarious it is.

One does not necessarily have to see it as an off-putting brand of music. We all have our tastes but Folk cannot be accused of being predictable and limited – not anymore, anyway! What Blake’s Fortune does is show what you can do by keeping Folk pure and modern. There are Americana roots that, interestingly, are coming into British music a lot more. Whilst we refute their world leaders, attitudes and negatives – we are embracing American music a lot more. Hip-Hop from the U.S. is assimilating into British culture more readily and Folk is taking a lot from America. Maybe that is not a shock, also. John Lennon, like many artists, is inspired by the best and brightest of U.S. Folk. I know Dublin is not in Britain but forgive my eager typing – you know what I mean! What I find, when listening to Lennon’s music, is someone who has immersed himself in Americana and Folk from a young age. There are many Folk contemporaries who limit themselves to a certain style but Blake’s Fortune is an outfit that has a lot to say; so many different stories that suit the full expanse and range of modern music. Why I wanted to look at Folk/Americana is how agile and popular it is. One cannot accuse it of being for acquired tastes. As the mainstream remains rooted in commercialism and a Pop sound: away from that, there are so many young Folk artists updating the genre and lending their voice. I feel, unlike other types of music, one is able to project an array of emotions without having to leap between genres. Folk/Americana have malleability and is attractive because of its freedom and potential. Blake’s Fortune enters a busy market that is as competitive and hostile as any other time. I mentioned how busy Folk music is becoming and that needs to be addressed. We are seeing so many different artists come into the genre and provide their own take. It might be scary for a young artist to join the fray but, as he shows, one can carve their own empire if they do not replicate and copycat.

This might be the first time I have looked at a Dublin Folk artist this year. That might sound like a niche issue but many overlook the joys and potential of the city. Recently, I hosted Pillow Queens at The Finsbury in London. They are a girl group that rock hard and have the promise to ascend to the mainstream in years to come. Brilliant live; fantastic songwriters with a tight connection – few bands have the attributes and qualities they do. They are among a small selection of artists that genuinely have something different about them. Having Blake’s Fortune before me allows my mind to go to Dublin and the great music coming from there right now. Hare Squad and Bad Sea are two Dublin acts that, between them, offer energy, bangers and longevity. The former is an Electronic act making a name for themselves in E.I.R.E. The latter, a more contemplative and charmed. Their music has Folk embers but mixes Country and Aaliyah-like R&B into the fold. Saint Sister have links to Derry and Belfast but have that Dublin base. They are a terrific duo that has been touring the U.K. and Europe the past couple of months. True originals that have the opportunity to go as far as they want. Throw in the boys of Orchid Collective and one has a band that mixes Fleet Foxes-esque harmonies and Folk-Rock brilliance. I particularly love Farah Elle and all she promises. She has Libyan heritage and mixes that with flecks of R&B, Reggae, Ska and Pop: a brilliant artist who has a lot more to say. The urban realities of life are presented by Burnt Out. Their name might be an apt description of their lyrics and worldview. Songs address the harsh realities of the city and the kind of people they have encountered. The North Dublin guys have only a few songs under their belt but are another band to watch carefully.

The same can be said for TooFools whose membership expands – depending on whether they play live or record – and mix Funk, Soul and Stomp. Eden is a fantastic artist who has seen his fanbase expand and music take off. He has completed worldwide tours and is one of the most popular and promising new artists in Ireland. That is merely a reflection of the kind of act one can experience in the country. I did not include links to their social media but you can investigate for yourself. I did not want to distract one from Blake’s Fortune and what he is producing. I often think the quality of a city’s/country’s music depends on the people and the culture. Dublin is renowned for its friendliness, warmth and wit. It is an encouraging landscape for musicians and, as I shall show in the conclusion, full of great venues and sites. A fabulous city that is promoting and raising some future stars. I can understand why Lennon is based there and why his music has the character, heart and quality it does. Other areas like London, for example, have their own brand – and is immensely varied – but there is something unique about Dublin. I have discovered few areas that have that exceptional genre-fusion and immense quality. Maybe it is to do with the people and the fact musicians feel supported and hopeful. If one feels they will be successful and get long-term support; their music is going to be that much stronger and solid. I have not been to Dublin myself but know, from reports people send back, what a place it is. There is a loyal and tight-knit music community that is encouraging its inhabitants to remain there – rather than come over to England and live here. Blake’s Fortune has many Folk/Americana compatriots but, when it comes to his combination of sounds/emotions, there are few like him.

One might look at John Lennon and assume they have him all figured out. The hirsute musician strikes you as a Badly Drawn Boy-esque act whose music will be beautiful and appealing – but lack the marrow of diversity, energy and edginess. Hello World, by its title implications alone, is an album that welcomes people in and has a positive disposition. There are some more introverted and moody moments but, largely, the music has an optimism and hopefulness. That is reflected in the ambition and flexibility of Lennon as a writer. He switches genres and ensures his songs never become too repetitive and predictable. Not only does he keep the compositions interchangeable and broad but carries that over into his lyrics. On his album, from the opening number, there is that sense of emotional space and recuperation. Hiatus is, literally, the man spending time away from home and getting a break – returning and finding himself refreshed and rejuvenated. Other tracks look at romance and something tender and pure. I shall look at a particular track from the album but, if one goes to his BandCamp page – link is at the bottom of this review – you can read the lyrics and the stunning wordplay at work. Scanning the words and one finds senatorial dignity and curious come-on; beautifully weaving poetry and incredible imagery. Blake’s Fortune reminds me of Nick Drake and his incredible songwriting. You only need read the lyrics and you can immerse yourself and picture the scenes. The best part of the lyrics, to me, is the romance and the angle Lennon puts on the trope. That is an appropriate word because a lot of songwriters, when addressing longing and passion, tend not to differentiate themselves from the pack. Here, one discovers an artist who casts from his own experience and makes sure his words contain no clichés and stereotypes. There are few who project the same majesty and beauty as John Lennon. From my perspective, having affection for someone and pining for a person I cannot have, I find a lot of comfort and solace in the work of Blake’s Fortune. The words provide a sense of hope and guidance. One, when intoxicated by the relentlessness of love, need answers and clarity. When listening to the songs throughout Hello World; not only did I find answers to some arresting questions but some perspective and hope. I will not go into the details of my predicament but am glad I have discovered Blake’s Fortune. Wistfulness and romance and words that might balk some; get under the skin in a bad way – assuming the music will be soppy and cloying. A lot of artists do write that way but there is a real intelligence, dignity and depth to Hello World.

Listen to the album in full and one is enriched, enlivened and encouraged. Few can deny the incredible voice of John Lennon helps embolden and define his lyrics. It is the songwriting that, in many artists, is overlooked. We look at the surface and sound but rarely dig down to the core. Whether that indicates a lack of interesting songwriters – and whether they are saying anything original – or a naivety, I am not sure. I feel too many take songwriters at face-value and do not spend time looking underneath the bonnet, as it were. When listening to Blake’s Fortune; those words are as instrumental and effective as anything. The genre of Folk/Americana is a crowded one and so, for that reason, one cannot be lazy and complacent with their music. Blake’s Fortune has a style that many can apply to others but, when seeking that U.S.P., it only takes a brief sip of the opening track (of the album) and there is that hit. The fact John Lennon takes in many different sounds and styles keeps the songs unexpected and innovative. I find many artists last a short time because they do not take the trouble to study and see what people want. Maybe they are obsessed by commercialism and replicate mainstream acts: some go the other way and try to be unique – but lack any identity and focus. It is tough coming into music and creating music sustainable, interesting and enduring. Such is the capricious and ever-changing nature of tastes; it is challenging discovering what people want. Blake’s Fortune is unconcerned about hollow fame but he wants that credibility and respect as a songwriter. Because of that, his music comes from the heart but is not exclusive. It is intended for the people and welcomes the listener in. I will touch on this subject in greater depth later but, for now, a nod to the male singer-songwriters.

One of the most noticeable fashions/trends in modern music is the switch in genre and tastes. People are becoming bolder and broader with their music choices and not rely on the charts to tell them what to like. Also, one sees the shift from bands dominating: female artists are taking a lot of ground and influence from the chaps. This is good to see and, whilst this quality and talent is not translated into festival headliners, there is evidence to suggest changes will occur down the line. Once was the time male bands were all the rage and dominating the landscape. I am not sure what one can attribute the change to but I am discovering a lot of female acts replace them. That means the male singer-songwriter, by comparison, gets less attention. I am not suggesting the male singer-songwriter is weaker and less important but I am finding fewer examples that can match their female peers. This is good in regards gender equality but suggests there are issues inherent that need addressing. I feel a lot of the best female artists are solo acts. Not to stereotype, but certain genres have particular dynamics. Grime and Hip-Hop tend to have a greater number of black artists; Folk more white artists; one can look at various genres and know what the demographic will look like. Pop, Folk and Electronic music are starting to eek greater reactions than modern Rock and Indie. These styles, when bands dominated, were favoured but right now there is a structural weakening and lack of motivation. I find the finest new Pop and Folk artists are women. The reason for this, I think, is because of the voice and music approach. The sheer beauty and comfort from the voice; the vocal range and the lyrical balance of warmth and physicality. That is a generalised and simplistic definition but I notice a real difference between male and female songwriters.

One finds more range, diversity and nuance with female artists. Folk and Pop are genres that have so much room for manoeuvre – they are exploiting this and making some real strides. Look at newcomers like Phoebe Bridgers and that says everything, really. In a way, she reminds me of Billie Marten – maybe Bridgers came first – and has that sweet and impactful vocal. She is a young songwriter but has older shoulders. Listen to her music and she talks about older bands and strange romance; quirkiness and an insight into her day-to-day life. You jump into the music and stand alongside Bridgers. She is someone to watch closely and one of many incredible female songwriters that have something very special about them. I am finding fewer male comparisons: those who possess the same quality, talent and range. Maybe I am not looking hard enough but I do not think I am wrong. Blake’s Fortune is one of a promising brand of musicians that have the chance to steal back some focus. I feel one of the reasons for the gender discrepancies is the way artists look at life and love. They are solid foundations for tracks and a currency many still yearn for. They are solid foundations for tracks and a currency many still yearn for. It can be tricky writing from the heart and making your words sound new but that is why the women are ahead. Maybe it is a mindset or perspective that makes them more intriguing but I find it is a combination of interesting and poetic lyrics and vocals that can express greater emotional range. The boys are too rigid and few stand in the memory for as long. This is not the case with Blake’s Fortune who has something about him. Like the finest female songwriters around; he goes the extra mile and away from the predictable. It is hard to characterise but I hear so many male songwriters that come across boring, formulaic and uninspired. In order for music to grow and evolve, we need to encourage those artists that have something special about them. One hears that in Blake’s Fortune and an album like Hello World.

I shall come to the music very soon but, before then, a look at debut album and social media. On the first point: Hello World, could have been quite a defined and limited album that stuck with a single genre and taking its inspiration from a shallow well. I hear a lot of debut album that shows a lack of courage and innovation. That is understandable in an industry that is unstable and cruel. What I mean is many artists can be overlooked if they try to be different and unconventional. Because of that; an opening salvo is personable and strong but lacks any real experimentation and difference. You may hear the odd song that has a unique flair but few artists come in with such a kaleidoscopic and inventive approach to music. That is not to say Blake’s Fortune has come in with a Paul’s Boutique style of album (Beastie Boys) but neither does it sit still and play it cool. There is a banquet of different stories, sounds and possibilities.  I am always surprised when new artists play it safe on their first album and do not take chances. Maybe it is a commercial risk but, considering most are not under the radar of the big labels, they have the opportunity to do something unexpected and stand out. Far too many are repeating what others have said or producing rather average albums. Musicians like Blake’s Fortune are not looking for the big streaming figures and getting into the charts. Here is a pure and proper musician who is inspired by multiple genres and artists – putting this into his work and matching that with stories from his past and present. Whether this will continue as he goes deeper into his career I am not sure – I would like to think it will. At this early stage; the signs are promising and it looks very rosy. Hello World has that wide-ranging ethos but manages to keep things grounded and focused. The songs are personal and intimate but, when you least expect it, they expand and take you somewhere else. A heady brew that many of his peers could learn from. I am excited to see where John Lennon’s alter ego can go and what the future holds.

Before I look at a song from his album, I wanted to talk about social media and images. The man behind the music has a lot of promise and aesthetic appeal. That is not saying he should be a model or shooting for calendars but there is an approachable and captivating artist that deserves greater representation. This review has a few photos but the vast majority do not feature John Lennon. One of my greatest tirades is when taking musicians to task regarding photographs. It can be quite frustrating when they do not put images online and want the music to do all the talking. That is something that irks me: no musician worth their salt is strong enough to ignore visual demands and solid music will only get you so far. In the case of Blake’s Fortune, there is a modesty and humbleness that dictates this omission – rather than an egotistical approach to his sounds and image. I would like to see him captured on the streets of Dublin as, not only will that ensure people put a face to the music but mean the big magazines and websites will go for him. The Dublin artists I mentioned earlier, between them, have a wide range of images and have social media pages fulsome and updated. Blake’s Fortune impresses me because of the number of sites one can find him on. All the social media and music-streaming platforms are included and he has an official website. That is a big and important aspect many musicians are overlooking. The only way to better this is for Blake’s Fortune to put more photos up and, perhaps, a bit more background and biography. He is a strong musician that has years ahead: getting a jump on these kinds of demands is paramount. Another thing I would like to see from him is some music videos. Maybe that is planned but, when promoting an album, YouTube visibility is vital. So many of the songs provoke clear images and fascinating stories. Having those represented through videos would bring more listeners in and get a greater number of followers onto his social media pages. Blake’s Fortune has a good fanbase but can increase the numbers with a few tweaks and developments. Maybe, again, that will come in time and something I would like to see happen.

The opening strings of Heart’s Roulette get you into the countryside and the landscape. Lennon’s voice is soft and assured but does not needlessly race and emote. There is a dignity and control that means the words are punctuated and precise. It seems like things have fallen apart of the seams and come apart. “Bridge the gap that was awfully/across my heart” is an example of lyrics that are oblique and interesting. The masculine, assured vocal has plenty of emotional and romance but there is some caution and wariness. Maybe things have gone sour in a relationship or, as the song title suggests, love is a real gamble. A past relationship may have made the hero sceptical but a new girl can change all of this. It seems like he is directing his words to a new love: someone who can overturn the bad days and bring some new inspiration to his life. I am not sure whether Heart’s Roulette is the result of a break-up but there are definite heartaches at work. When you think the song is going to be a straightforward and accessible thing – those who judge Folk and music upon few words – there are luscious and serene female vocals that back the hero up. It is a shot of colour and sensuality that raises the shivers and takes the mind elsewhere. I started off in the countryside – the sensation of rolling fields and pastoral solitude – but, now, go into the bedroom. Not in a seedy way but it seems like pillow-talk and intimate conversation is coming in. “Dreams can pull us together”, it is said. The hero has a hopefulness and wants to transition to better times. The heroine, it seems, left the bed for the sea.

It is quite an old-world view of fleeing lovers and new lands. The hero looks around and sees the heroine depart. Trying to take this all in; he casts the spotlight into his own soul and wonders where it went wrong. Maybe it was a natural breakup or the two were on different pages – she wanted something different and a new way of life. Whatever the origins, I get the sense of redemption and renewal. The hero, backed by gorgeous female vocals, investigates the wreckage but, rather than lament and wallow, seems to have a pragmatic imagination. Things will get better but it is important to take lessons away from this current love. I mentioned how a new love could be on his mind but I cannot shake that sense of being in the bedroom and looking from the window. The wilds and oceans are outside and, holding his heart firmly, there is a young man trying to make sense of things. The compositional broadens and expands as the song progresses. There are harder strings and Indie touches; bigger percussive influence and a change in the vocal dynamic. The hero did not expect to win the game of roulette but wants to take a chance. Fiddle and falsetto blends with electric licks and a stringent approach – a man who has doubts but wants things to be better. Those wordless vocals are such an inherent part of the song’s charm and strength. There are few lyrics on Heart’s Roulette but, the ones there are, give you all the story and revelation you need. Despite that; there is mystery and room for interpretation. Whether the hero found satisfaction and bonded with the new love – or was haunted by the fallout of the relationship – I am not sure but would like to imagine there is hope and new lease. The final stages of the song build those vocals and perfectly melt traditional Irish Folk and modern Indie. There is flair and energy but that passion and traditional element of Irish folklore. You swim through the song and imagine yourself out at sea. From the opening segments – where you picture countryside and calm – you go to the bedroom and the hero looking out. By the end; you are on the boat with the heroine and, perhaps, the hero is following her. Heart’s Roulette is a song that tackles lost love and the risk and gambles of relationships. It is a new take and aspect of love and the way it can take you by surprise.

I have written about Heart’s Roulette and why it represents Hello World perfectly. It is a song that gets inside the head and captures the heart. That brilliant track is in great company: the album has some brilliant moments and consistent quality. What grabs me about the album is the variation throughout. Some reviewers have noted how the music is Indie-Folk and has shades of War on Drugs. They are a band getting a lot of acclaim right now so is a good thing for Blake’s Fortune. To be fair, that comparison does not fully appreciate the talent and original aspects of his music. I will end by returning to some points I investigated early. At the moment, I am looking at Blake’s Fortune’s social media feeds and there is a lot of interesting developments. Not only has he recently encountered The Divine Comedy’s Neil Hannon – a cheeky signed photo and all – but the new album has been included in stores around Dublin. It seems things are going really well for John Lennon so I wonder how far he can go. I guess there are gigs happening around E.I.R.E. and, maybe, Northern Ireland. I am not sure whether artists from the South of Ireland are willing to gig there or if there are tensions still. I would not like to say but hope it is possible for Lennon to travel to the North. In any case; he can come to the U.K. and perform in countries like Scotland and England. We here would love to see him perform in places like London, Brighton and Manchester. There are so many areas that would welcome the fantastic music of Blake’s Fortune. Maybe he is already planning on coming to England but, maybe, financial restrictions mean he might stay in Dublin for a while. I can see the young songwriter making big strides in years to come and rising through the ranks.

Coming back to the Dublin music scene and the quality one can see there. The Grand Social and The Cobblestone are a couple of great venues that many local artists are taking advantage of. Vicar Street has played host to comedians but it is the musicians that pass through the doors that remain in the memory. It is a great space for artists of all genres to play to a welcoming and passionate city. The Button Factory and Whelan’s are incredible venues and, between them, having seen some legends of music pass through the doors – including Nick Cave and Jeff Buckley. There is so much to recommend about Dublin’s music scene – a part of the world that gets overlooked by many. Blake’s Fortune is part of an incredible scene that has so many world-class musicians performing. It is a magnificent part of the world and one you should naturally look to when it comes to future legends. I hope Blake’s Fortune takes full advantage of the city and the venues scattered throughout. Even if he does not play over there for a while; his music is going down a storm and it cannot be long before there are big demands around the world. I will end by looking at his music and how he is adding new life into Indie-Folk. That genre gets a bad reputation because, many associates it with a certain listlessness and fatigue. Whether you class Blake’s Fortune as pure Folk or Indie: he has so many different styles working through Hello World. It is hard to pin the man down but, on the surface, one might predict and judge. John Lennon has the look of a man one might find strumming the guitar and performing something gentle and unengaging. That is stereotyping and something a lot of critics and music-lovers do.

One cannot jump to conclusions and assume an artist is the grand total of their image. It takes merely a few minutes before John Lennon’s incredible music gets into the imagination. He portrays sides of Folk that would please fans of Joni Mitchell and Nick Drake but, dig deep, and there is a modern sensibility that is fresh and exciting. He has incredible songwriting ability and can take the listener in multiple directions. The songs are deep and compelling; the singing varies from warm to rousing. An accomplished composer who feeds from the city and people. Earlier, I listed a few of the artists who are putting Dublin on the map. The city has always produced great music but, recently, too many eyes have been cast elsewhere. It is musicians like Blake’s Fortune that mean Dublin will always be relevant and exceptional. The range and diversity of sounds is amazing. Maybe you feel Ireland will have a very limited sense of musicianship but it is as modern and nimble as any other nation. The supportive and rich music scene is encouraging its artists to remain and support one another. That is rare to find and is a shining example to other parts of the world. I will end this now but want to congratulate Blake’s Fortune on a terrific album and wonderful sound. I wish I could write more – aware people might be losing concentration – but I hope I have represented his qualities and personality appropriately. It has been great bonding with a personal and approachable musician who writes music that, somehow, fuses universal with the individual. I will follow his career because, in years to come, more people…

WILL be enriched by Blake’s Fortune.

_______

Follow Blake’s Fortune

TRACK REVIEW: January - Whelmed  

TRACK REVIEW:

 

January

 Whelmed

 

9.3/10

 

 Whelmed is available at:

https://www.youtube.com/watch?v=_P2NKukB6vY

GENRES:

Ambient; Downtempo

ORIGIN:

Los Angeles, U.S.A.; Brighton, U.K.

RELEASE DATE:

27th April, 2017

_______

I might be doing this backwards…

but this is my second time approaching January. I interviewed her last week promoting her album, Whelmed, and what its inspirations are. Now, I am charged with reviewing its title track that is a few months old now – the way of things with reviews is you can get to things a little late. I have had this on the diary for a while because other stuff has come before it. Whilst I am a bit late to the party, it gives me a chance to address a topic that few reviewers get a chance to: retrospective appeal and looking at music later in time. I will talk about January and her stunning track but, before I do, I want to look at retrospective appeal and its importance; some of the best female artists and why their influence and talent is so important; moving from L.A. and the appeal of Brighton; strings and bringing compositional elements together; competitiveness in the industry and artists trying to make a name for themselves – looking at how to build social media numbers and the importance of exploiting the venues of this country. I shall start by having a look at that first point and looking at music further down the tracks. I feel one of the biggest issues journalists have is the fact they have to encapsulate and define a song/album/E.P. when it is released. Often, they have to distil their thoughts to a few paragraphs and react to the music in the here and now. This gives us an unclouded view but, I wonder, does it truly represent music and its true nuance? Some tracks do not have that depth – that compels revisiting further along – but I am finding myself questioning assumptions and views. A lot of the tracks I review I like at first but, some, tend to lose a bit of their appeal a few weeks/months away.

The reverse can be true: a little underwhelmed by some music; only to find it grows and gains new relevance very soon. You do not really get a chance to revise reviews and attack it again. I have been reading reviews of current albums and wonder, in a couple of months, will those journalists still hold the same views about that work? It is interesting looking at January in this context and a song like Whelmed. If I were coming to in a few months ago, when it was released, I would have had my views and a particular standpoint. I feel, coming back to it weeks/months later, everything would have changed. What does one do when their initial assumptions prove to be false?! It is an interesting point but I guess that is the limitation of journalism. We must capture and define work when it arrives and do our best to predict its long-term effects. It is intriguing waxing on the point but I think there should be a mechanism in place to allow writers to go back and reassess certain albums. Artists like January will get a slew of sites tackling her music when it arrives but, once that is done, they will not remain with it and continue to dig into the song. It will be left there so how hard is it to keep promoting the music when journalists have moved onto the next thing? It would be good to have journalists that can come to songs a little while after they have arrived – reviews do not need to be conducted as soon as a track is out. For me, I get the opportunity to approach a song that I have been listening to a while. I am coming in with fresh ears and get to combine all my experiences of the song – from that initial assumption to the emotions and possibilities captured in the months following that. It is fascinating to me because I feel there are albums in the mainstream that get one type of response and then, you think, journalists are going to change their response the more they listen to that work. Do we expend adequate time and attention when it comes to reviewing work? There is that need to get a review out and have something produced quite quickly – that means you are not giving the music proper attention and regard.

IMAGE CREDIT: Finlay Cowan Subway Slim

When it comes to January’s latest video; I wanted to wait a little bit and allow its textures and essence to do its work. I shall come back to that but, until then, wanted to look at American artists and living a city like Los Angeles. For January; she is recording in her Brighton studio and living down here now. It is always baffling (to some) that anyone would leave L.A. and somewhere that seems quite ideal. It is like London a lot: many assume it will be perfect but there are problems and reasons why some favour other areas. It is easy to see the impressions and fingerprints from L.A. in January’s music. She has absorbed from the local scene and artists around her; taken from the landscape and employed strands from her new home. I am really interested in the Los Angeles music scene and why it is so compelling. That seems like tautology but it is very hard to capture everything going on there. It seems like a perfect place for an artist to create music of the highest order. In sheer terms of the geography and ecosystems there; there are no other places quite like it. You have the beauty and rolling hills; the beaches and tanned bodies – the bustle of the city and a sense of cosmopolitanism. Away from that, there are charming bars and cafes; a blend of nationalities and cultures in L.A. – go further into the state and one will find hidden wonders and some incredible places. All of this cannot help arrest and infuse curious creative minds. For January, one suspects it is a combination of her home and influences that go into her music. I shall not go into the artists currently rocking L.A., as she does not live there anymore, but one can do their own research. I feel America gets more attention because of its politics and situation – as opposed its music and fantastic sounds. January has learnt a lot from her early years but, even though she is here, it makes me wonder how much of the sun, situation and heritage she brings to her music. I listen to her songs and I get transported to L.A. I have never been there but one can definitely hear embers of the sea and sand; something about the hidden retreats and the complexity of the humans who inhabit the city. One gets a real clash of elements and sounds that can either represent the blend of languages/peoples in L.A. – maybe it is something else at work. In any case; I love the music she provides and know she still carries L.A. in her heart.

IMAGE CREDIT: Adeline Sumney

I will talk, actually, about YouTube and videos in a bit but, before coming to that, a little bit about Brighton. There is so much to address with January but, given the fact I know she is recording in Brighton right now, a chance to talk about the city. Having visited there a couple of times recently, I can attest as to how vibrant and varied it is. January might refute my claim but – even though I have not been to L.A. – there is, perhaps, comparisons to her home? Maybe the people of Los Angeles are not as laid-back as in Brighton but you get a clash of the modern/quirky and beautiful. On the one hand, you can explore The Lanes and the unique shops and spaces one can explore. I get lost in those shops and all the colours, scents (many of which can be quite ‘vivid’) and possibilities. There is the High Street and the more mainstream shops sitting alongside the charming businesses one finds down The Lanes. These alone must provide writers with enough to put into their music. Even if they do not directly address them: the sheer influence and impact goes into the imagination and sits into the consciousness. Away from the streets and shops; one can go down to the beach – it is very close by. If one goes there; you can get a traditional sense of the British seaside and what it is all about. There are shops that sell rock – all claiming to be Brighton’s best – and there is the pier. Walk on the pier and you encounter an arcade and stalls; little shops and people watching the sea as it crashes against the shore. The beach itself is pebbled but, when hot, is crammed with life and adventure. It is the more relaxed and scenic part of Brighton. Transition into the night and the city explodes with colour and sexuality. There is a huge L.G.B.T.Q. scene there and, when it gets dark, one sees a different side to the city. The nightlife is incredible there and it is a thriving and eye-opening experience. January has all of this around her so, one wonders, how much of the new music is going to be compelled by her current home. Maybe L.A. goes into her album and earliest work but, knowing there is new material taking shape, will that resonate to the beat of Brighton? It is interesting to speculate – and I look forward to receiving that music and getting to grips with it.

Before I come to my pre-approved themes; I have been watching January’s video for Whelmed and the kind of reaction it is getting. I am baffled why certain artists/songs get the attention they do. Whelmed is a gorgeous video that took a lot of effort and planning but, so far, has only accrued meagre views on YouTube. There are few views and comments – a few people have given it a thumbs-down. It seems people are not really listening and watching: simply trying to discourage an artist and ignoring the true depth of a work. I look at a video like Whelmed and wonder why it does not have more views and love than it does. Perhaps there are so many artists out there that mean it is impossible to wade through and decipher the best. I do not really buy that because, if one has a P.R. company behind them (like January does), there should be more done to ensure their videos get necessary attention. YouTube is a platform that allows music videos to get to millions around the world. The biggest Pop stars often rack up eye-watering views and, sometimes, it can be tens-of-millions. I do wonder whether these views are coming from teen audiences and whether these numbers reflect quality – it seems a lot of it is down to popularity, credibility and celebrity. That is all fine but it rather muddies the waters. Take a new artist like January and she relies, to an extent, on sites like this get her music promoted. Seeing Whelmed collect a small numbers of views – and no feedback – makes me question the validity and role of YouTube. Do we take the time to thank an artist and give them some kind words?! There is such disposability to music and we get into a habit of watching videos and leaving it there. In the same way reviewers might be wise to re-explore music – in order to understand its true hidden truths and full effect – maybe we should take more care when encountering a music video. It is disheartening seeing an artist put so much work into a video – only to see it not get the numbers it fully warrants.

PHOTO CREDIT: Hugh Fox

It is merely a consideration but, why would an artist like Lorde get so many views and someone like January a comparative paucity? The quality between the artists does not reflect the gulf of numbers. I mean, Lorde has celebrity and that established career but it proves a lot of the video views comes from hype, celebrity and popularity. January deserves the same sort of epic viewing figures as Lorde (and her peers) and I feel something needs to be done. Of course, January is someone who gets her videos and music promoted by various sites and has a solid fanbase. Having a P.R./management company behind her; there are other hands ensuring the music gets out there and covered. One can argue how important and monetising things like YouTube is when it comes to an artist’s career and prosperity. I think the music itself is the most important thing and, so long as it is good as it can be, that is the thing. Artists do rely on streaming services and sites like YouTube to get their music to more people. It is not an easy solution but it irks me seeing fantastic artists giving such modest attention. January is a compelling and entrancing act that has her own sound and deserves a lot of love. Maybe it is the case the waters are quite busy and it might take longer for her true talent to be recognised. Saying that; she has fans here and in the U.S. so there is a lot of love out there for her. The female singer-songwriter sector is hotting up and busier than it has ever been. Even if an artist is original; their sound can often be similar to someone else’s. In January’s case, there are a lot of artists who have the same blend of atmosphere, grace and tranquillity in the music. How easy is it bonding with all of them and discovering the nuances of each? Maybe the industry is becoming too crowded and undisciplined: it means people like January – who has an incredible talent and sound – is getting lost in the sea of like-minded artists. It may sound like a negative and foreboding forecast but I am defending her with venom. She is someone that deserves enormous acclaim and should get enormous love on social media and music-streaming sites. I will talk about her upcoming material later but, for now, I shall move on to look at artists who inspire January and the sounds she brings into the music.

Björk has, with her typical wit and unique insight, explained her forthcoming work is her “Tinder record”. One can imagine the puns journalists will employ during the reviewing stages – swiping left and right; corny, half-baked dating jokes – and the kind of aspects one can discover when the album comes out. Like Björk; January is, in her current work, exploring love and its effects. One suspects; the way Björk is talking about her album: it is an L.P. that documents her dating experience and having to move on after splitting from a long-term partner. Whether sex and sexual exploration forms a large part; there is the mystery and unpredictability of love – I am looking forward to seeing what is on the horizon. January, on Whelmed (album and song), looks at love and how it is complex. When interviewing her, January revealed how romantic love is never easy and all of her music, to some degree, is about relationships and being immersed in someone. That is why her album’s title track is so meaningful. It is about being wrapped inside a person and fully engrossed in a relationship. One can draw comparisons to Björk and her contemporary mindset. Maybe the Icelandic legend is going to take a more casual and freewheelin’ approach to sex but one suspects there are going to be paens about deep love and affection. I wanted to talk about Björk because, for artists like January, they must be indispensable and mind-blowing. She is a huge influence for me but, for a musician, that effect cannot be underestimated. Look back at her career and the way she fuses strings and orchestrations with nervy and anxious sounds. Right from her Debut album; one gained a real emotive and physical impression. Songs would gallop, swoon and endeavour: the heroine let her voice fly and would explore new realms and worlds. As her music developed; new sounds and ideas were laced in. Björk, actually, started to invent her own instruments and, on some of her more recent efforts, she created apps. and ways of distributing her music. That is the story of a true innovator. It is not only the case she inspires musicians because of her incredible and always-shifting music: as a person; she speaks out against sexism and addresses issues that many would overlook.

PHOTO CREDIT: @mrhughfox and @helkiloves

A passionate and determined soul who uses her voice in a variety of ways. I can sense a connection between Björk and January. Whelmed is a song that contains the same sort of aspects one might discover in a Björk album like Post and Debut. Even if, in terms of vocals, there are differences; I hear compositional inspiration for sure. January knows how important Björk is to her but, when discovering the beauty and haunted nature of her latest song; I get impressions of artists like Enya. Here is another artist January name-checked in our interview and, when listening closely, you can definitely hear her impact. The Irish singer has, throughout her career, produced some of the most beautiful and sweeping sounds one could imagine. I am a fan of her classic moments and can lose myself in her music. That is true when one hears January. She mixes in the boldness and string articulation/mixes of Björk but has the vocals and passion of Enya. There is, in so much as she is inspired by the likes of Chopin, a great knowledge of Classical music. January grew up listening to Classical and Electronic music so it is no surprise finding both these genres come into her work. I am a champion of artists using strings and unexpected tones in their music. For one, it fuses the synthetic and natural into one. For another, there is that balance of symphonic and edgy. If you can create darker sounds from the electronic elements and bring in the warmer and more enriching strings – that is a heady blend that is hard to turn down. This is what one experiences with January’s music and one has to thank her idols for that gold dust. I will come back to this point later but, given the fact Björk has teased new music, I am confident we will see a lot of new artists come into music that name her as an influence. Over two-decades since her debut; she is someone who no equals and provides incredible, strange music. It is beautiful and worldly; it has all manner of emotions and stories running through it – nobody can deny what an impact she has had on modern music.

PHOTO CREDIT: @mrhughfox and @helkiloves

I am keen to move on to January’s Whelmed but, before then, a slight return to social media and venues in the country. I have argued why someone like January has not gained more social media fans than she has. There is a great fanbase behind her – and many publications have featured her work – but, I feel, following and fandom should directly correlate with quality. That may be terrible naïve but, I think, artists that accrue the biggest streaming figures/YouTube views are the ones that are not, necessarily, as strong as the new artists coming through. Whether there is an easy way of ratifying these concerns and constructively remedying the imbalance has yet to be seen. There are piecemeal changes but I worry how detrimental and disenchanting it can be, for any artist, having to work tirelessly for a modicum of attention. Maybe that is the harsh nature of music but, for January, I have every hope that she will be a big proposition in years to come. The music she is producing at the moment is exceptional and makes me wonder how far she can take it. I feel there are venues and fans out there that would welcome January in and provide her a lot of love. Not only does she have the splendour and diversity of Brighton where she records: there is a cavalcade of various-sized venues that would be perfect for housing her music. Green Door Store is a wonderful venue that, normally, puts on heavier acts – Rock, Indie; Hardcore etc. – but puts up a whole range of different sounds. I would think someone like January could get a gig or two there and find some new support. I have often walked past The Greys – down Southover Street – and from its ironic turquoise outer walls; it is a pub that showcases wonderful live music for the people of Brighton. That is another cool and warm part of the city I would like to see January perform in. Latest Music Bar, down in the recesses of Manchester Street, is a fantastic space.

PHOTO CREDIT: Hugh Fox

Throw into the mix Prince Albert, The Haunt and Komedia and, I feel, January could curate a mini-tour of Brighton. There is a world in London she could succeed in: take that further through the U.K. and so many venues I would love to see January take charge of. Maybe this will be a reality when she puts new music out but, given the strengths on Whelmed, I know that record will find passionate and ardent support in various parts of the country – Brighton is the perfect place to start that campaign. I shall move onto Whelmed next but, a few moments before getting there, offer some encouragement to January. She does not need my patronage but there is so much about her that I fall for. Not only is she incredible striking, intriguing and down-to-earth but her music and attitude to her craft are seriously impressive. Her songwriting is among the strongest I have heard in a long time and, having worked with British D.J.s and gained huge experience in this country; she has indulged her love of Electronic music and worked with fantastic Classical talent. I will allude to that in the context of Whelmed but here is a young artist who has a width and determination that will see her succeed and endure. I know the future is hard to predict but, knowing where January has come from, I know where she is going. I have completely involved myself in songs like Whelmed and am struck by how personal and meaningful it is. Not only a song that means a lot to its writer: its words and meanings can be extrapolated by every listener out there. It has such heart and courage but a universal beauty that gets into the heart.

PHOTO CREDIT: @helkiloves

There are whispers, suggestions and the feint air in the opening seconds of Whelmed. It brings in mere tinkles and shimmering strings; there is rustle of the breeze and the openness of nature. In many ways, it has that blend of Classical composition and a certain Icelandic superstar. One immerses themselves in the view and walks alongside January. It is passionate and curious; compelling and soft – you cannot really articulate (clearly) how meaningful and unexpected it is. Rather than rush in with heavy strings or vocals: January gives the song a chance to wake up and percolate. The arms stretch into the morning and the sun rises from over the hills. When she comes to the microphone; one gets the impression here is a young woman who might be wrestling with troubles. She does not want to go somewhere – nothing good awaits – but, knowing the song deals with new possibility/love, it seems like a transition piece. Maybe she is shedding off her worn skin and keen to embrace a new way of life. There are all shades of blue in her mind. Her heart is not beating the way it should and it seems as though things are getting rather intense. The desire to forget about a bad experience and find some escape comes through. January’s voice is tender and breezy. It has emotion and determination but is kept restrained and delicate. There is a certain tease and allure to the performance that means you are sucked into the speaker and, as such, go deeper into the song. I was hooked by the sound and affect the voice had on me. There are a lot of singer-songwriters like January who have that aesthetic and sound – in a busy market; that is always going to be way. I know a lot of female artists who are compelled by the likes of Tori Amos and Björk – and have a wistfulness and attachment to the environment that feeds into their music. Looking at Whelmed’s video and one sees the heroine by a waterfall and enraptured by her mood and surroundings. This strikes familiar visions in me – and have seen a few videos like this – but there is something unique about January. She does not follow others and, when it comes to her lyrics, this is very much taken from her own life.

The voice hovers, rises and strikes as the heroine reveals how she will be on her own. She is on her way and leaving behind that blue and heartache. Maybe there is a man in mind and finding hope – after a period of instability and loss. The Copenhagen Cello Quartet provides strings for the song and brings something majestic and soothing to the song. It is easy to fall for January’s voice as it has a blend of maternal instinct and otherworldly charm. It is light and sweet but one discovers a definite physicality and sexiness to it. That combination of infantile and womanly is hard to conquer but it comes naturally to January. As the song continues, it is easy to assume we find endless heartbreak and hopelessness at work. The heroine is overcoming bad days but, it seems, there is definite hope and new adventures afoot. There is no point in feeling/being left behind, as it is said, and the heroine’s friends have been caught in the riptide before. She is not drowning in the water: it seems she is drowning in the man. It is interesting hearing her sing about regrets and that notion of movement. Maybe older love has weighed her down; that anchor has shackled her feet but now, perhaps, there is a reason to be optimistic and not be fatalistic. That sense of being near the edge – and close to drowning, perhaps – is rescued by a man. Perhaps that is an overstretch...but it seems like a new horizon is here. One gets impressions of a woman who is going through a new process and experiencing a freedom. That liberation and new lease are evident as January’s voice weaves and waves in the breeze. The song never gallops out the gates: it is serene and light throughout. Inside this calm is a definite sense of expression and passion. Few will listen to the song and not feel like they can relate. Many of us have been through similar experiences and, whether romantic bonds or personal fights, we have all encountered change and hope.

PHOTO CREDIT: @helkiloves

I know how personal this song is to January and it is one she holds very dear. Maybe, before, there was a period of isolation and hurt. Relationships are hard and it might have been the case she was with the wrong person. Now, there looks like there is sunshine and a relief ahead. Whether it is a new man or a realisation that has compelled this song – moving on from the bad days and getting away from the shipwreck. As the song progresses, my mind changes and I wonder whether there is that overriding hope and happiness. We see the heroine walk into the water in the video and it seems there is more at work than meets the mind. I would like to think new love has given her a reason to be uplifted but it seems the demons of the past continue to do their work. I come away from the song and need to go back because it has complexities and obliqueness. Electronic elements come into the song and bond nicely with the strings. It is a combination that gives the song new life and meaning; it has dark and light working alongside one another and provokes all sort of memories, possibilities and images. Whelmed is an addictive song who chorus and vocals will stick in the mind. The lyrics will compel possibilities and various interpretations. I know January is inspired by love and takes from relationships when writing. There are those bad times expressed in the song but, in my opinion, something pure and new – a fresh relationship that casts away the shadows of the past.

I have been involving myself with January and everything about her. She is an artist for whom I hold reservoirs of affection. Her music needs to get to as many people as possible and I feel, genuinely, she has enormous potential. There are no confirmed dates for her at the moment but that will all change. She has mentioned how she is returning to writing after a year-long hiatus. I guess, without snooping in her business, she was dealing with personal demands and the way life gets in the way. Her own lexicon and situation is complex; but I guess there are good reasons why there has been this gap. In any sense, she needed to step away for a bit and take some downtime after recording an album. Love and relationships form a big part of her music: maybe the downsides of a bad love affected her work-rate and mindset. Perhaps, in all honesty, she has been working with other musicians and looking for fresh inspiration before going back into the studio. That is where she is now so, in the coming year, it will be interesting seeing what the result of all this is. January explained, in my interview, how she has been working with new artists and talent. This has kept her mind sharp and inspired; compelled her to make new material happen and dream big. One suspects the arrival of new Björk material will inspire January and compel her in some way. Not that she is the only inspiration at all. There are Classical masters and modern-day artists that drive her. As she said, when I interviewed her, it is important to take from the giants and learn – one must provide their own narrative and not take too heavily from the narrative of others. This comes through crystal-clear in January’s own music. I know Whelmed is a few months old but, returning to my earlier points, that is something that does it a favour. What I mean is it is a song that has complexities and richness. It unfurls all its colours and secrets the more you listen to it.

I opened by talking about retrospective reviews and whether we should invest time in an album/artist after they have released. We review material as soon as it comes out and only have a small window to define that work. One does not give it times and allows the songs to fully unwind. That is the drawback of journalism but I wonder whether artists are being given a fair crack. Artists like January have that rush and energy to get the music out there and get reviewed. When albums/songs come out; it gets to magazines and sites. They will take it and share a few words about it. There is such a snow-storm of attention and focus in a relatively brief space of time. Once all that attention has fallen away; that is it and the artist must take it upon themselves to keep the momentum going. It is worrying music relies wholly on that instantaneousness and initial burst. I know journalists cannot re-review work and hold onto its for months on end. Are we, as consumers, expending appropriate energy and regard when it comes to new music? I often listen to new artists but will come back to them weeks after first hearing them. Many are buying/streaming songs and they will move on to the next thing sooner or later. There is that zeal to discover what is brand-new and of-the-moment. It means there is a big reserve of music that has that early affection – only to be overlooked and put into the cupboard very soon. Like a child getting excited by a present at Christmas: playing with it for a few days and then shoving it under the bed. January is focused on new material but I feel her current music should remain in the memory and get more attention. I keep repeating that point but it is one I will not let go. One has to PROPERLY listen to the music and keep it safe. It is no good hearing a new artist, listening to their music, and then discarding it. I have been guilty of doing this but I am feeling guilty about. My point is we should all be more vigilant, careful and considerate when approaching a new artist.

PHOTO CREDIT: Hugh Fox

I shall end this piece now – as I have a lot to crack on with today – but I wanted to bring all my early points together very quickly. January is recording in Brighton now but has come from L.A. I can hear strands of Los Angeles music in her own work – it is inevitable she would take a lot from where she came from. In hearing January’s music; one can detect landscape and people; her idols and upbringing. There is the diverse landscape of L.A. and all its beauty. The scenic nature and views; the polemics and clashes of the city and serene. Now recording in Brighton; she has the wonderful people and that appealing blend of shops and the beach. It is a relaxing part of the country but does have a very vivacious night-time scene. It is a city that has the same contrasts as L.A. but not as crowded and large. I guess that is important when she records and conspires – not feeling so cramped and hustled. I mentioned how January has been inspired by Classical music and Electronic artists. There is a real genre-mix in her music: one gets all sorts of tastes and scents when hearing a song like Whelmed. Few possess the same sort of passion, personality and panache as January. She is a singular being who involves herself with music and all its possibilities. I shall end this now but urge people, as I often do, to listen to January’s music and a rare artist. So evocative and entrancing is the music: it is hard to shake it off and forget about it. I am pumped to discover what the future holds for January but, right now, she is creating music that gets into the heart and…

 BRINGS you into a wonderful and unforgettable place.

_______

Follow January

TRACK REVIEW: Duke of Wolves - Teddy Boy

TRACK REVIEW:

 

Duke of Wolves

PHOTO CREDIT: Richard Barber 

Teddy Boy

 

9.4/10

 

Single.png

 Teddy Boy is available at:

https://soundcloud.com/dukeofwolves/duke-of-wolves-teddy-boy

GENRE:

Alternative-Rock

ORIGIN:

London, U.K.

RELEASE DATE:

18th August, 2017

Recorded and Mixed by Ben Phillips at Lightship95 London

Assistant Engineer: Dan Guerrieri

_______

THE reason I am violating one of my golden rules for reviewing….

PHOTO CREDIT: Violet Verigo

is to investigate one of the best bands playing in London right now. I am reviewing fewer people I have already done so – because I want to discover new talent and not repeat myself to an extent. I have featured Duke of Wolves before but, as I am spending the coming weeks assessing unfamiliar artists; it is nice to return to an act I know can bring the goods. Before I come to look at the guys, there are a few different things I wanted to address. One, oddly, relates to professional outlay and some suggestions for the guys – music videos and making them part of the aesthetic. I wanted to look at the consistency of bands and that classic need for success and fandom. I will look at Rock and why now it is essential to foster the most varied and impressive acts; songs that go deeper and intrigue; gigs and bands who are growing into the live arena – and a bit about London and consistency. I shall start by addressing a band that, since their formation, have a very professional approach to their music. They do not get a huge amount of help when it comes to their promoting and recording – there is a D.I.Y. approach that many artists are taking these days. It is becoming popular because of music’s expense. If you are recording a lot of singles; the costs can mount and it is not often feasible at the best of times. Duke of Wolves employs a D.I.Y. sound because it is one that best articulates their gritty and raw brand of Rock. I will come to that later but it is the way they share and promote their brand that interests me. The guys do, not yet, have an official website yet but I can see that being the next step.

They have recorded a series of singles and it seems like they are starting to rise through the ranks. A one-stop portal for all your Duke of Wolves needs would be a great move from the band. As it is; their social media presentation is full and impressive. I know it is a point I keep harking back to but those acts who expend effort updating and volumising their pages are always going to go a lot further. I can see the band is keen for their fans to be kept abreast of everything going on with them. Their fan numbers are climbing but one imagines it is only going to be a matter of time before they are huge news. What keeps bringing people in is because they have a real professional attitude to every aspect of their career. Their sounds might be rough and tussling in places: that does not extend to the way they market themselves. This is a perfect balance to have in the music industry. It might not sound like the be-all-and-end-all in music but is can make an enormous difference. Duke of Wolves have a big following that is going to grow with every song they release. One of the reasons behind that is because they are proactive and give the fans pictures, updates and videos. Another aspect I love about Duke of Wolves is their music videos and how much attention they pay to them. I have heard from a lot of artists who do not like recording videos and think it is a bit of a hindrance. I cannot understand this because, in this age, there is no excuse to ignore it. If you really apply yourself and think beyond the ordinary; music videos can be great fun and lead to something wonderful. I understand how the cost can really put off a lot of artists. Even a simple video – skeleton crew and basic concept – can still run you to three figures. Many are choosing to shoot videos on iPhones and have that D.I.Y. approach. Duke of Wolves do not expend bucket-loads of money but still ensure their shoots are captivating, humorous and interesting.

Videos like Terry (The Serial Killer) and Hollow Eyes have different concepts but are really amusing and memorable. If a video sticks in the mind; you are more likely to come back to an artist and follow them. That is one of the reasons I am keen to see where the London band go. They produce a top-notch single and then, from there, create a video that adequately visualising their incredible lyrics and performances. The visual aspect of music is really crucial so it is vital artists realise how integral music videos are. Given the fact I am reviewing Teddy Boy: I wonder what the video will contain and how it will shape up. I can see 1950s' elements and greasers in leather jackets; bike gangs and something that spoof Grease, perhaps. I shall come onto the song inspiration but it seems, with this song, the band has the greatest chance to create something huge and career-defining. That might sound insane for a music video but, even with a relatively modest budget, given the subject matter at hand; they have the chance to go big. I shall not put ideas in their mind – and they might already have the video all locked-down – but the guys are one of those acts who take care of every aspect of their career. Such is the detail and passion that goes into each aspect; I know they will go far and continue to grow. I cannot express how important putting effort into social media/images is and what effect they have on a career. I see so many artists ignore photos and not really put effort into music videos. If their music is great – often, it is not – then they have only really addressed half of their career. Those who find the effort and time to put their everything into each corner of music – the rewards, given time, will be huge.

PHOTO CREDIT: Richard Barber 

Duke of Wolves, since I heard the first draft of Hollow Eyes, have really impressed. I knew, from that outing, they would continue to crack out fantastic tunes. It is always hard knowing whether an artist is going to ensure and evolve after the first single or two. In a heavy and busy market; getting people’s attentions is the biggest worry. There are so many options out there so, making an impact right from the off, is really something everyone wants to happen. How one does that is down to them but ensuring the music is original and big is, I guess, one way of doing that. In the case of Duke of Wolves; they go for the gut but are not one of the less-sophisticated and basic acts. What they do is combine classic riffs of Rock with something that marries Indie and Alternative. There are shades of black but they do bring colour into the palette. One of the biggest worries, in the early days for the London outfit, would have been crafting music that varied from their early stuff – that which pushed them on but kept the quality barometer high. The band managed to forge an identity early and, in doing so, knew exactly how their songs should come across. By that, I mean they were not endlessly toiling for that ‘perfect sound’. If you misfire with the debut single – or sound generic and predictable – there is a period where you are searching and formulating. This haphazard experimentation can put off a listener who wants something to bond with. If you hear an act that (un-deliberately) is scattershot and crosses too many genres – maybe that is a sign they are not quite ‘there’ yet. It is really hard concocting a sound that is instant and assured right from the off. The band did not form and then, a couple of days later, put out their debut. They spent time jamming and testing theories. From the days of Hollow Eyes and It’s Real; they have looked outwards and to characters, comedy and deeper subjects. Hollow Eyes was a fantastic song but, in terms of lyrics, the desire to have a relatable and classic-sounding template was evident.

PHOTO CREDIT: Bill Thomas

I bonded with the lyrics but find, in subsequent songs, they have broadened their pen and are looking at lesser-heard people, themes and ideas. Terry (The Serial Killer), as the name implies, had a very specific idea but, with the video too, brought some humour into the agenda – whilst keeping the music pretty real and stomping. Their latest track, Teddy Boy, in the way it alludes to looks, fashions and vanity – it seems to nod to past decades. Materialism and shallowness is something more evident and widespread in an age, now, where technology makes people’s lives open and exposed. The title puts the mind back to the 1950s, perhaps, and that is reflected in the song’s cover art – perhaps an angle they explore in the video? I can see how the band has matured in terms of their compositions and lyrics. They hit upon a fantastic sensation early but, rather than repeat themselves, have added new dynamics into the blend. There is a hunger to the band that reflects their name. They are carnivore and lusting; there is a lupine desire that means they push themselves with every new release. Making sure you are consistent and evolving is a balance that is really challenging. It takes time but, before you put a song out, making sure it is like nothing on the market is a key consideration. Duke of Wolves takes from Classic-Rock but never replicate it. They have their own sound and ideas – sprinkling this with beefy riffs and big choruses that have defined some of music’s finest moments. I am not sure whether the band is working up to an E.P. or are thinking of an album later in the year. I can see an improvement and strengthening with each new single. I cannot wait to see how their career blossoms and where they go from here. The London band have conquered one of the potential pitfalls: struggling to change and strengthen between tracks. If you are world-class from the start – which most is not – then that is fine but every act begins with a few rough edges. Smoothing those out is important and ensuring you can add something new to your music.

I will come to look at their latest single soon but, right now, wanted to address a big elephant in a small room. In today’s music, there are few Rock bands that really get under my skin. I have been looking around for future idols and can see very few options. I am not sure whether tastes and tides mean different genres are finding success. There is a big rise of Electro sounds and some fantastic Pop acts. I am pleased to see music changing and embracing new sounds. Actually, given the Mercury Prize nominations and it appears British Hip-Hop and Soul are really taking hold. That is encouraging to see but, take a wider look and one sees a lack of Rock options. I was, yesterday, chatting about The White Stripes and why their absence is so noticeable. I know Jack White is recording a new album but, his former duo, have long-since bitten the dust. I have a playlist of their best songs and, from their debut album to final bow, can see the changes and variegation. One can hear the undercooked and scintillating rawness of their debut and realise how inspiring and forward-thinking it was in 1999 – even if Jack White took a lot from older Blues and music of the 1970s. Go forward a few albums and the duo brought in new instruments and ideas. They continued to push themselves and ensure the music never became stale. It is the addictiveness and classic sounds they managed to craft that stand the test of time. Even on their final album, 2007’s Icky Thump, there were Scottish elements and Heavy Metal; all sorts of genres and sounds. They remained a Rock/Garage band but did not limit themselves to a particular form. I feel there are so many Rock artists who are becoming stale because they are not changing their sound. The simplistic and one-dimensional Rock sound is not going to impress people years down the line. So many acts are going to for the jugular-worrying hardness and epic sound. It gets a bit tiresome over time and suggests a lack of ideas. Bands like The Amazons, who were tipped for big things, showed a lack of differentiation and identity on their eponymous debut album. IDLES, a band overlooked for this year’s Mercury nominations, seem to have a lot more about them.

PHOTO CREDIT: Edyta K

They are an immense live proposition and one of the last bastions of edgy and sweat-inducing Rock. They have enough in their arsenal to suggest they’re going to remain for many years. Whilst I cannot see them employing the same sort of width and musical cross-pollination as The White Stripes; they are a solid and stunning act that has many fans. I see Duke of Wolves and hear a band that have the promise to, between albums, craft a White Stripes-like trajectory. Their debut, when it arrives, seems like it will be all about D.I.Y. Blues/Rock and something effective and uncomplicated. One imagines they will bring new elements into their music into subsequent albums. Maybe there will be White Blood Cells (The White Stripes’ third album) nimblenssness – an album that was more lush and varied but had that core sound – and then, further down the road, new instruments and elements (one need listen to Get Behind Me Satan and Icky Thump to hear how the duo progressed). Perhaps Duke of Wolves will not be as far-reaching but, in a scene where the monosyllabic Rock acts are dying and less-popular than before, there is the real need to push the envelope and bring in new sounds. It is quite sad seeing the dying-out of Rock and a lack of diversity. Maybe it is harder adding new dimensions to the genre but, with bands like Duke of Wolves, I can see some real promise. As they are now; their music has the same sort of gripping and physical aspect The White Stripes brought to classic records such as Elephant. One sees, in order for Rock bands to stick in the mind and revive the form; they need to learn from the likes of The White Stripes and one of the reasons they lasted for so long – because they switched sounds and do things differently on every album. I will come back to this point later but, hearing Duke of Wolves, I hope they think that far ahead and how future albums will sound. I love their music but fear, if they retain the sound they have in years to come – it might not ensure survival the same way as it would were they to bring new components into their music.

Not long now but, before getting to Teddy Boy, it is apt focusing on themes and ways to bring lyrical fascination into music. The song, as I will explore, tackles the way people focus on looks and what a person projects on the outside. How often does one look inside and bond to a person’s personality? Maybe there are those who will always be shallow and vain. In an age where social media is taking over; it is harder and harder to see people as actual human beings. We get advertising shoved down our throat and one wonders, given the digital nature of life, how easy it is connecting with people – let alone getting to know them on a deeper level, as it were. It is a subject that is being talked about in music and I am delighted Duke of Wolves are focusing on this. They could have gone for the easy and trite – another embittered love song – but has decided to talk about something important to them. Their songbooks have always employed unexpected avenues and it is another reason they are a fantastic act to watch. Whether they are looking at individuals and quirkier sides to life; the inequities and downfalls of a subject or wider themes – Duke of Wolves are a fantastic act that are broad and ever-changing. I can see this in their music which adds new colours and ideas between songs. I am excited seeing what their next track consists and where they go from here. On their fifth outing; it would have been tempting to revert to their debut and maybe looking at something quite anxious and suffocating. Instead, the band has cast their gaze to society and picking apart the shallowness and emptiness of life. That might be a bit of severe and heavy representation of Teddy Boy but it is an attack on the way we look at people on the outside – everything is about looks and images. Backing these lyrics is one of the most confident compositions from the band.

It seems Rock could really come back with a swing this year. I was left a bit disappointed by Royal Blood’s latest album, How Did We Get So Dark? It did not vary from their debut and, unlike that record, has not remained in my mind. It is clear, if they want to endure for years to come, they need to have a think about album number three. Putting new elements into their music; broadening it and shifting tone is the only way to get critics properly on broad. Maybe Rock is a genre that, if you go heavy and hard, it is impossible to be truly unique and original with every album. There are a lot of acts doing the same sort of thing and there is not as much room for manoeuvre as you get in other genres. There is always going to be a place for huge riffs and epic choruses so, with Duke of Wolves, there are ample opportunities. If Rock is becoming irreligious and weakening; the boys (and girl) of one of London’s biggest upcoming bands have plenty more to come. I know their music will take in new sounds and genres and that, in turn, will see their demand-stock increase. I hear there are whispers the band will be spending some time at one of London’s biggest music venues. There are great gigs for Duke of Wolves approaching and I know how determined the band is. I feel, in time, Duke of Wolves will be one of those festival mainstays and the London quartet is properly suited for all range of venues. They have a sound big enough to fill venues and get the summer crowds rocking. There is something sweaty and primal about the music that means it easily transitions into smaller spaces. Few acts are as adaptable as Duke of Wolves – so, it will be interesting seeing the type of spaces they play in the coming months.

I know the guys are ambitious but I wonder how long it will be until they start playing abroad. Maybe other U.K. cities are in their mind but, with a slew of singles under their belts, they will be looking further afield. I wonder if they have played cities like Manchester and Glasgow: areas that would herald their music and ensure they go down really well. I am not sure their U.K. ambitions but, being based in London, they have a wonderful city at their feet. The band has played some great venues around the city and they will want to capitalise on that. As they prepare new material and look ahead; they’ll want to keep busy and ensure their music gets to as many people as possible. I hope, when they can get the funds together, they consider Europe and North America. I see similar bands perform over there and getting a really good reaction. Europe, especially, seems like it would be very hospitable and welcoming. There are obvious nations that would bond to their solid Rock but, more than that, the people know a great band when they hear them. It is important, before then, to get that local training and reputation built. The guys have a great fanbase but there are areas and venues unconquered. Teddy Boy is a great chance for the band to tackle new spaces in London and built their reputation. It is the way they come across live that means people are hooked to their latest sounds. The band has been known to jump off things and really get the crowds moving. There is that physicality and epic swagger that means the people go away buzzing and satisfied. Few live bands leave such an impression so I urge the quartet to keep striving and take advantage of London’s wide and diverse live scene.

There is something modern-and-classic in the opening to Teddy Boy. The opening riff has binary gravel that means it switches to and fro – like a rapid see-saw that is gritty, grumbling and arpeggiated. It is a fast-moving and promising introduction that gets the listener engrossed. The song’s subject – the poser and mirror-hogging figure – is a teddy bear and softy under it all. Maybe, under the surface, there is a kind and honest heart but it seems like the boy is a bit vain and fake. Faison and false pretences are guiding the song and irking the frontman. The Queens of the Stone Age strands come through large in the initial moments. Frontman Jim Lawton has that Josh Homme-esque smoothness and falsetto croon that means the song has a familiarity right from the off. The percussion rumbles whilst the bass and guitar whip up a mixture of sounds and decades. There is the sway and cool of 1950s’ Rock but it has direct and urgent modern tones. The boy is flexing and quaffing his hair by the mirror. He likes a teddy girl and she, in turn, likes someone a bit rude and fake. One gets images of a man who sees himself as a James Dean-like figure who is the coolest human around. In a time where many are accused of shallowness and being image-focused; here is an exploration of someone who is creating a persona that is egregious, unseemly and a bit tragic. This sense of judgement and critique is perfectly represented by the band who keep the song fresh and bouncing. The percussion is hollow and punchy whilst the strings have a tautness and funky edge. Lawton ensures the vocal is engaging and emotive throughout. He does not keep his voice and dynamic singular and unyielding. When the story builds and changes: new tones come into the sound and he brings true personality to proceedings. One instantly bonds with the song because it has such a sense of fun and energy. The composition is not as snarling as earlier cuts from the band and shows their newfound sense of melody and contrition. There are sweeter female backing (from band member Sara, one would assume) and, I think, Orlando chips in with some vocal backing. It is his lead guitar – with Jim’s and Sara’s bass – that add the grit and cool that the sound represents. Tom’s percussion keeps things punchy and tight: together, it is an electric song that gets straight into the head and gets you singing along.

The body cannot help move as the hero continues in a questionable vein. He is “way past lying” and, when the chorus reaches, I notice some, dare I say, Pop elements. It is a lighter chorus than I am used to with the band and has a real sense of harmony and unexpectedness. They could have made it a huge and snarling chorus – full of accusation and bile – but they subvert expectation and provide something catchy and passionate. It seems things are past the point of denial and common sense. The boy is so engrossed in fantasy and delusion he is immune to any outside voices. I like the idea of a teddy boy and that older style. Maybe that title and idea seem to embody a general feeling of the fake and shallow. Not to suggest teddy boys past were deluded and bonding with something hollow. It appears, in this case, the soul of the hero is as empty as a pair of boots. I am not sure why he is like this but, maybe, it is a reaction to the image pressures of the modern day. Perhaps he is someone who needs to make a change and feels this new persona is a lot more confident and popular than his regular sense. I feel, conversely, he is a bit of a plank and someone who has been listening to the wrong people. The band are onto him and not keen to indulge any support and understanding.  It is hard to concentrate on the lyrics given the composition is so body-moving and intoxicating. You drink in the swivel and allure of the composition. The band has a fondness for Queens of the Stone Age but, rather than rehash their brand, they bring in British elements. I hear a bit of Muse’s Knights of Cydonia in the riff (the ending seems to have that sensibility) but there is that mantra – the boy is lying; no denying – and some incredible combined vocals. It is a rich combination of sounds but manages to retain simplicity. The band does not throw too many sounds into the song but keep things varied and nimble. The song has that twiddling and hectic riff; the lighter and open chorus and those accusatory lyrics.

PHOTO CREDIT: Hugo Lloyd-Winder

Put all this together and it leads to the fullest and most compelling song from the band so far. I can see they are pushing further away from acts like Queens of the Stone Age – in so much as their music walks too close to theirs – but retain enough to intrigue. Teddy Boy is a song that remains in the head and has a real kick in the tail. The lyrics get into the mind and you can appreciate where the band are coming from. Many of us know people like that (the song’s hero) and struggle to reconcile why they do this. The band is never too harsh but, at the same time, are aghast at the gall of the man. I am not sure whether it is a particular person who inspired the song – or whether a general commentary on certain types – but has interested me. I know the song will be really well-received and gain new fans. Teddy Boy has that distinct Duke of Wolves sound but pushes things forward. It is another confident and authoritative cut from a band who are growing stronger and more assured by the release. I cannot wait to see all their tracks combined into an album some day. Teddy Boy would be a great mid-L.P. inclusion and shows they are never willing to sit still and be content. A fantastic song from one of the strongest and most interesting bands coming out of London right now.

The band have a series of gigs before the end of the year but will, surely, look to get as much work as they come. Given the fact they have Teddy Boy out; this is an ample opportunity for the London band to get the song to the masses. I feel their gig at London’s The Borderline (on 2nd December) will be a pivotal date. By then, the song will be well known and, who knows, they might have another one out. It is a great venue and, I am sure, given the fact the weather will be cold and ‘British’’; people will want to come in and get a warm and uplifting blast. Before then, Duke of Wolves will be promoting their latest single and getting a video together. Before I take this down; I want to revisit a few of the ideas I explored in the opening. I will look at music videos and professionalism; the importance of evolving Rock and deeper song – but I will start by talking about where the band go from here. I can see an album arriving from the London four-piece before too long. Already, there are five singles under the belt and great plans afoot; it is a great time for the guys. They will be headlining The Social in celebration of releasing Teddy Boy (officially out 18th August). If you can get to that gig/launch on 31st; it will be a chance to see one of the best live acts in the country perform. They have been compared to Queens of the Stone Age and, considering the U.S. band release their new album, Villains, very soon; it is a great month for swaggering, PROPER Rock. I have been a little underwhelmed by the proliferation of soulless Rock acts that seem to rely on easy riffs and volume. Duke of Wolves are different and add melody and variety to their music.

It is hard deciphering which Rock bands have potential to endure and those who seem resigned to short-term success. I have mentioned The White Stripes with good reason. Too many Rock bands stick to drums-guitar-bass-vocals and make their music simple, meaty and stadium-sized. They continue this throughout every album and keep their lyrics basic and unsophisticated. That leads to a scene that lacks any nuance, sophistication and future-promise. Going back to the U.S. legends and it seems few artists are learning from them. They are a unique duo but that does not mean modern artists cannot learn from them. If you chart their albums and progression: each new record brought new stories and sounds to the plate. That basic and stripped debut was foreign when compared to their fuller and more mature finale. Between then; Jack and Meg created some of the finest music of the past two decades. Maybe it was the fact there was two of them – and it was quite compact and uncomplicated – but know they are so successful and important because of their music and how original it was. Every album has its vibe and covered so much ground. If they had simply repeated their debut album then they would not have lasted as long as they did. Take another act like Queens of the Stone Age and, again, a band that manages to make every album different. I can see a lot of promise in Duke of Wolves and know they will not fall into the same traps as many of their peers – simply rehashing Rock’s rulebook and not adding their own personality to it. There are a lot of promising bands who are making original and bold music – they might not get the same focus as others; many going unnoticed in the underground. Rock is a genre that is flagging and not as healthy as it was years ago. I am not sure why this is but it is a combination of sameness and the popularity of other genres. The only way Rock is going to regain its crown and prosper is for acts to think more clearly and add more to the music. Duke of Wolves are doing this and, in addition to having melodic sensibilities, have a set of lyrics that stray far beyond the cliché and predictable.

This all bodes well for the band and their future aspirations. Teddy Boy looks at shallowness but has a sense of delusion and ego. It digs deep and addresses a common concern but seems to allude to individuals and the way they kid themselves. The band, so far this year, have already played Isle of Wight and Camden Rocks. Their music is resonating and connection with the people. Long may that continue and I think it will. The band is eager to keep fans updated and provides a window into their creative process. They produce sensational videos that vary from self-portrait pieces – the guys playing and caught on film – to more narrative-driven pieces. They do funny and comedic elements shoots but can do serious and intense. This is a side of music that is underrated and under-appreciated: filming good videos that show what a song is all about. So much of an artist’s popularity stems from YouTube they cannot ignore the importance of the form. I will wrap this up but am excited by a band who are rising through the ranks with impressive aplomb. London is a great city for them to carve up an empire and seduce the people. They have already achieved a lot in their careers so far but want to do a lot more. I know there are exciting gigs coming up but, with the arrival of Teddy Boy; the band will have more opportunities before them. Get to the single launch on 31st of this month and witness an exhilarating and exciting new force. With many questioning the stability and validity of Rock in modern music; bands like Duke of Wolves prove that…

 IT has the potential to rise and regain its dominance.

_______

Follow Duke of Wolves

TRACK REVIEW: Rié - Business Trips

TRACK REVIEW:

 

Rié

 Business Trips

 

9.4/10

 

 

Business Trips is available at:

https://www.youtube.com/watch?v=BMsml8cRNj8

GENRES:

Alternative; Alternative-Pop; Electro

ORIGIN:

London, U.K.; Tokyo, Japan

RELEASE DATE:

28th June, 2017

EP.jpg

The Business Trips EP is available at:

https://open.spotify.com/album/68QNlUOETcj4ItttEqu9Fd

RELEASE DATE:

30th June, 2017

_______

NOT often does one come across an artist one…

can literally call ‘unique’. When it comes to Rié that is entirely justified. I shall come to look at her music very soon but, before I do, I wanted to look at Japanese-born music and the vitality of the city; the inspiration behind songs and the link between Rié’s fine art music; transitioning from the Japanese market to Britain; popularity and artists ready for the mainstream – I will look at sounds and fusing unexpected voices. Let us address Japan: an area that does not get a lot of coverage in the music press. Later today, I will attempt to compile a playlist/feature that celebrates the best international artists around – bringing in names from the U.S., U.K.; Sweden, Australia and beyond. Japan is a nation that boasts some fantastic musicians but few make their way to us. When one thinks of Japanese music, especially that which emanates from Japan, one imagines bright-coloured Pop and a sense of the quirky. We look at Japan as a nation and see the bright lights and rush: the strange adverts and the real head-rush of the culture. Aside from that; there is a politeness that we need to adopt here and a punctuality and respectfulness that lures many people in. On the other side of the Japanese coin is a culture of Rock that has been adopted in the West. That class and contrast between variegated Pop and serious Rock makes Japan one of the most intriguing and exciting nations for music. Historically; the nation has brought us artists like Malice Mizer, Aqua Timez and D’espairsRay. Band-Maid, Z’s and OOIOO are other acts worth investigating. I look at the list of Japanese artists and find myself wanting to discover more about the music culture there. I shall look at great venues in Tokyo for musicians in the conclusion – but I wanted to look at some great musicians in Japan. In terms of Rock; Crystal Lake are at the frontline of Japanese Hardcore music and have the potential to break away from Japan and spread their music throughout the world.

Kohh is, actually, a Hip-Hop artist from Kota (Tokyo) who fuses Western lyrical ideals - getting tattoos and a rebelliousness – with flavours and embers that relate to Japanese culture. Quite standout in terms of his words – unusually for a Japanese artist to break away from love in music - he is someone to watch closely. The fin. are a band who have played here a lot and melt dreamy Electronic sounds with urgent Rock. They have soundscapes that take you somewhere special but a definite immediacy. Kyoto’s Tricot are a three-piece are a technical band who have strange riffs and rhythms in their bad. They have toured Europe and are another act that has the potential to assimilate into the Western market. I will come back to this subject later but it is interesting seeing the great artists playing in Japan. Rié started life in Japan and, immersed in the richness and variation of the music scene, and recorded for Sony Japan under the name of Rie Fu. The pink-haired artist was performing something akin to J-Pop-cum-Rock. It has a youthfulness and sense of fun but serious undertones. We get hung-up on stereotypes of Japan and assume all music from the country will fit into that mould. Rié started in a rather ‘traditional’ and cliché way. Maybe, now, she has moved past that and adapted into a unique artist. It is interesting seeing where she came from and the inspiration she takes from Japan. Her Business Trips EP - I will look at the title-track, soon – is half-dedicated to Japan: the other side is focused on London and the U.K. It has been a while since I have encountered a Japanese artist so it was paramount looking at the country and the vivid burst of musical activity one can experience there. It is something I shall come back to later but it is great to back the incredible music that is coming out of Japan.

Coming from Tokyo, with a successful career behind her; Rié could have stayed there and enjoyed life as a Pop sensation. She recorded an album in Japan and, singing with Sony Japan at the age of nineteen. I am not sure whether Rié is returning to Tokyo at any point but, surely, she will have gig requests there. It seems London, and the beauty of the city is enough to keep her rooted. It is hard transitioning from any country but there seems to be a huge difference between Tokyo and London. The former is a bright and sense-enhancing city that is very modern and is dazzling to behold. The latter is modern but has more history and a different pace of life. Having to assimilate to London life would be challenging for someone who comes from Tokyo. Similarly, going to Tokyo – having been based in London – would take a lot of time; acclimatising would be problematic. The reason Rié came over here was to study Fine Art at London’s Central St. Martins. That education facility is somewhere I have seen a lot of musicians study at. There is, as I will explore, a link between art and music but, for the Japanese songwriter; it gave her the chance to embrace and expand her love of art and imagery. I am not sure whether having knowledge and passion for art heightens music: it gives new prescriptive to songwriting and can lead a writer to be more imaginative, abstract and diverse. For Rié and her move here; it seems she has found her calling and home. I know she has spoken about London and how settled she feels at the moment. Of course, there is still that homesickness lingering but, being in a city that can rival Tokyo for music and art, let’s hope there is not too much of a vacuum present. I have seen few artists transition to a new city/way of life as quickly as Rié. She has the look and sound of someone for whom London is the perfect space for her.

Having performed tours of Asia and wowed the population there: it is now time for Rié to tour around the U.K. and bring her music to the people. Her Business Trips EP was released a month ago – it is still quite fresh in the memory. The reason I wanted to focus on its title-track was the story behind it. In my conclusion, I will expand upon the points I am addressing now but, when it comes to songwriting inspiration, I can probably exhaust it in the opening. The E.P. track, St. Martin, recalls the time the Tokyo artist met with a music businessman and another man – who told her it would be very hard to make a career out of music. That frustration lead to the song: a chance for her to prove, rather demonstratively, she is capable of making a career out of music. There are a lot of detracting voices who will tell people there are unable to fulfil their ambitions. It is quite common but, if they are saying it without evidence, it can be patronising and condescending. Calling, a song document when she moved to a small U.K. town – having been in the epicness of Tokyo – tackles isolation, identity and contrasts. The weather, people and accents; the politics, customs and religions – all conflicting and differing from what she had experienced back in Japan. That is what I was talking about regarding Rié and her travels from Tokyo. Having to disconnect from one way of life and embracing a foreign strangeness is enough to unsettle someone. Instead of retreating and hiding herself away; the songwriting took inspiration from these emotions and feelings. Her E.P. is a collection of experiences in the U.K. and how hard it has been adapting to a new nation. She has immersed herself in Britain but still finding her feet (to an extent). What strikes me about the title track is a couple of things: its links to Kate Buh and her husband.

Rié’s husband, also Japanese, was/is often away on business trips and, in addition to being hard to bare – her special other being away for a long time – it meant the young songwriter was hearing and seeing parts of her husband in static instruments and physical things. The same way Kate Bush embraces the domesticity and simplicity of a washing machine in Mrs. Bartolozzi (from 2005’s Ariel); that is what we get from Business Trips. Kate Bush’s paen to laundry and cleaning is something few artists have emulated. What strikes me about that song is how compelling and beautiful a song about housework and day-to-day work is. It is a song that boasts images of the heroine cleaning – after people traipsed mud into the house – and getting the laundry sorted. There is, in that song, a spirituality and mysticism in these appliances. Bush turns the song into a hymnal: a prayer to the pleasures and escapism of domestic chores. Rié takes guidance from Kate Bush and how she embraces the mundane in an extraordinary way. Business Trips was inspired, oddly, by a gecko that happened upon Rié one day. This, I think when her husband was away, was an embodiment of him – maybe an emblem that provoked her to bond with her surroundings. I am not one who believes in fate or reincarnation but, creatively, the creature could have represented remnants of her husband – someone watching over here and keeping her company. As she was recording and away on tour – and he was elsewhere – that sense of separation could have put strains on the marriage. Rather than dwell on the loneliness and distance: she has connected with her home and found elements of her husband in her environment. That gecko, and what it symbolises, drew her to Kate Bush and how she found romance in the ordinary. Alongside the extraordinary story and vocal performance are electronic beats, piano and koto – a mix of Japanese sounds and Western Electro-Pop inspiration.

There are few who take inspiration from original sources for music. I am seeing too many people go to the love-well and splits of love. Anyone who steps aside from the predictable and represents something unexpected finds a place in my heart. It is so easy going with the common and not thinking outside the box. Rié is someone – maybe motivated by her heritage and Japanese characteristics – who does not go with the average and expected. That is one reason why I am drawn to her but another aspect of her personality stands out: her bond and affiliation to art. Studying Fine Art in London; many would immerse themselves fully and not have much time for music. I can only imagine what an experience that degree/course is. Fine Art is not only about studying historic pieces and those famous painting. Many assume it will be a one-dimensional course that does not offer a window into any other cultures. One can imagine there is a chance for Rié to study Japanese art and a lot of the work she would have seen as a child. Not only would it be confusing having to adapt to a British way of life – after coming from Japan – but based in London; the differences in terms of art would have been immediate. The greatest and most reputable art galleries are based here. That provides a wonderful portal for Rié but, in terms of cultures, one wonders how many Eastern works would be hanged there. All these dimensions, diversions and dynamics, naturally, would have spiked a curious imagination and romantic soul. I listen to a song like Business Trips and see art and colours in the composition. It might be pretentious to suggest Rié composes as she paints. She will not use bland colours and project in a predictable way. She sees music as a canvas on which she can create something majestic.

Because of this; one hears fusions of East and West; beautiful nuances and spectacular moments. It is a very direct link, for me. Few musicians have such a creativity and mindset as Rié. She is accustom to our ways of life but is not someone who wants to abandon her home. One gets suggestions of Tokyo in her music and where she came from. Vibing from the incredible culture and opportunities in London: that has gone straight into the music and connected art to music. One hears vivid brushstrokes and depictions in the E.P. I am not sure how long Rié has to go on her Fine Art course but let’s hope she pursues this route and continues studying. I feel this is one of the reasons she is such a prodigious and individual musician. I shall move onto my last point soon but feel a real connection to Rié. She is one of those musicians who feel constrained by limitations and conventional routes. Her songwriting is accessible but can never be seen as commercial. Look at the inspiration behind her songs and one discovers a woman whose heart, imagination and soul resonate to a different beat. This is all true of her voice that could, one imagines, conforms to cliché and national stereotypes. I shall return to Japan but, when one thinks of artists there, the mind is split between a girlishness and intensity. Many J-Pop groups are quite cutesy and sugary. The harder Rock bands have a huge masculinity and ferocity to them. There are few that fit in the middle of the spectrum and offer anything beyond the binary.

In many ways; Rié is more Western in the way she performs and articulates her music. Comparisons have been made to Karen Carpenter and Suzanne Vega. There is that balance of lush and romantic: two artists who, between them, have performed some of the most beautiful music ever. When listening to a song like Business Trips, I am reminded of those singers – and Kate Bush – and notes that are unfamiliar to all. Rié is not someone who clings too closely to others: she is unique and keen not to be labelled alongside others without much consideration. One of the reasons her voice has such a lustrous and candid quality is her connection to Japanese art and poetry. She adores the poetry of her nation and the emphasis its poets/writers place on beauty. There is a sense of the oblique and intangible; nothing is ever spelled-out – only alluded to. Because of this; her music has a mix of the tangible and distance. Beauty is evident but never forced; there is physicality that suggests sexuality and longing. Such a fascinating brew from an artist who has very few competitors. The story and background of Rié is one that seems set for the screen. I know there are many musicians with an interesting back-story but there is a definite drama to be found from Rié’s story – a lost Haruki Murakami novel, perhaps? I love his work like Norwegian Wood and A Wild Sheep Chase and, looking at Rié, see someone who is a heroine from one of his works. That obsession and passion for art; the husband away on trips and the musician who has to get used to a new city (and world). Were she to portray her life onto the screen, it could be called Business Trips. It would be, essentially, an expanded version of the music. The tale would follow Rié from her teenage years – singing for a big label and engrossed in the gaudiness and buzz of Japanese life. From there; she would transport herself to a town in Britain and have to transform herself into someone else.

The novel/film would then see her following her love of art in London and making the E.P. – that encounter with the gecko and new experiences. I am getting a little off-topic but there is plenty of scope for anyone who wants to pen the Rié story. I shall return to my earlier point but find it interesting there are older Western artists in the mind of Rié. One might think local artists or modern mainstream acts would be her influence. Maybe I am stereotyping again but feel too many artists are beholden to the mainstream and have a very narrow focus. A young woman like Rié would be forgiven for sticking to music of this decade and not really casting her mind back. The fact she recalls Suzanne Vega and Karen Carpenter suggest the kind of sounds she grew up to. It has been a while since I have put those two names together in a review. It is a testament to an unpredictable and unconventional artist who does not want to be easily defined and written off. That defiance and uniqueness is a demarcation between Rié the Artist and Rié the Musician. There is an inherent link between the two but there both are different sides to her personality. Business Trips employs art in its compositions, designs and videos. It is the raw and real story of the Japanese artist that goes into the vocals and lyrics. Because of this, artists like Suzanne Vega and Karen Carpenter seem like obvious idols. Both articulated a sense of loss and longing; a blend of romance and confusion. I am a big Bangles fan and grew up listening to Vega perform for them. Carpenter is someone I came to later in life but feel a real affinity towards. Rié, in a way, refreshes my mind and draws me back to childhood. Her performances are so evocative and intoxicating: one forgets she is a mere human. This might sound like hyperbole but such is the sense of wonder one experiences listening to her music.

The openings seconds of Business Trips presents the rush of (what sounds like) trains and clash. It is he rush of feet and the sounds of commuters. That is balanced by piano – which is romantic and tender – and that mesh of lush and hectic gives the song a rather strange energy and dynamic. The heroine sings and is surrounded by the smell of turpentine. Maybe she is engaged in painting and setting down to create a commissioned work – perhaps something to pass the time. Whatever the origin; one senses a distraction and need to connect with her husband. His departure creates an emptiness that, one feels, is filled with art. As she started to paint on the canvas; a gecko approaches and is in her sights. Perhaps, one assumes this was set back in Tokyo, a rare creature like that seems born out of a dream. This was a literal happening and a revelation that provoked the song. In a way, or as she says it, the physical embodiment of her husband. It is company and inspiration but it is a rather mystical and odd happening. Those Japanese strings – the subtle pluck and Eastern flavour – give it is a homely feel and connection to her past. Bird sounds and a breeze blows and, this gecko arriving, happens every time her husband is on the business trips. What I get from the song is a woman who longs for her husband and feels his departure quite hard. I know she has her own life and purpose but it is quite uprooting having to face regular spells without her husband. The vocals, to start, float and have that Suzanne Vega tone to them. It is romantic and swaying but starts to heighten and embolden. They always retain their romance and beauty but get heavier and more pressing. The composition brings in fizzy and electric that signifies the internal struggle and turmoil the heroine is faced with. She works from five in the morning to nine (that morning): odd hours that see her dedicated to her work but fulfilling her role as a wife and housekeeper. That early wake-up might be because she has nobody else around. She is free to keep her own hours but needs that distraction.

It is interesting noting the change in pace and sound in the song. It is not announced by the vocal or lyrics – a huge chorus or shift in narrative – and happens quite naturally. Because one does not expect it; it takes one by surprise and creates quite an effect. It is a stunning sea change that brings a lot of physicality and emotion into proceedings. Business Trips starts life tenderly and with grace but grows more anxious and heated. In a way, the vocals of Rié remind me of Lana Del Rey and her finest work. There is that sweet-and-husky mix that reminds me of her latest album, Lust for Life. The voice sways and floats in the breeze but its mantra concerns the office and a domesticity. In the song’s video; she drops paint into a cooking pot – maybe that is the way she mixes paint but seems to represent the art of housework and mixing her work and home life – and puts images of the gecko on the wall. It is a busy and active space that is her day-to-day routine. Her office is bustling and alive; it is her vocation and explanation – the way she can find some sort of solace and meaning. Having to deal with her husband’s absence means there is a definite quiet and loss. Rather than dwell on that; she picks up her paints and creates murals and spectacular work. The composition seems to mirror that colour-burst and epiphany. The electronics and percussive elements are productive and assiduous; the vocal is disciplined and imaginative – it all seems to be like paints being mixed and put onto the walls. One imagines the other side of the coin: her husband waiting at airports and having to bundle onto the train. It is a stark contrast to the peace and creative perfection of an office studio. Maybe there is anger and disappointment at the state of the relationship. The two make plans and speculate projects but then, when things are starting to happen, another business trip comes up.

It seems work is getting in the way of the relationship. Whether there is a sense things could be different and less divisive, I am not sure. Rié pines for a simpler life where the two live together and can have their own careers. Maybe that will never be possible because her husband has to travel. Whether the song has its heart in London or Tokyo, it is hard to say. One imagines this is a recent occurrence and, as such, does Rié pine for her simpler days? I guess, when you transition in a new nation, sacrifices have to be made. In this case, the two have very different careers and they do not really overlap. Rié is someone who can be based at home and does not need to travel. Her husband’s itinerant agenda means Rié is, in a way, having an affair with the home and surroundings. The same way Kate Bush longingly sung about a washing machine on Mrs. Bartolozzi: here, the artist is guided by the gecko but seems closer to her subject and passion. She is not seeing anyone else but desires a connection and conversation. This occurs through her art. Painting on the wall and mixing colours; dreaming and speculating distract her from the sense of isolation and loneliness that has been created. This is perfectly rendered in a song whose composition tells the husband’s side – the rush and energy of travel – whilst Rié’s vocal is a more sensuous and artistic thing. Both, ironically, unite harmoniously in a song that talks of distance and bridges. The song’s coda – the heroine working in an office – seems to spark new interpretation as it is repeated. Towards the end of the song, maybe that is the conversation and echo of her husband. When Rié asks why he cannot be there: that is his response, I guess. It is simple and terse but cannot be defined and rationalised. Maybe he needs to pursue a career in the arts: where he can be with his wife and they are a more connected couple. That might not be practical so it makes Business Trips a fascinating and tense thing. The song starts to grow and crawl: the composition showing teeth and starting to stomp. Everything tightens into an anxious crescendo. The heroine continues to remain calm inside the storm but one feels an explosion and execration is imminent. Perhaps there is mediation and discussion required but, in a sense, one is a voyeur when listening to the song – watching something intimate and personal break and go through strain. In any case; Business Trips is a song that will remain long after it has ended – and announced the presence of a unique artist with few equals.

I mooted as to the cinematic potential of Rié’s story. Such is the strange and wonderful route she has taken in life – I cannot help but marvel and speculate. Some artists go from Japan to the U.K. but none have the same course and consequence as Rié. A married and domesticated woman; there is a sense of the ordinary and predictable – in a very good way. Part of Rié concerns hyper-focus and singularity: she sets her mind of one thing and has that discipline. Her songs are the results of, in a lot of ways, whimsy and strange inspiration, but the actual composition and production suggest someone who engrosses themselves in the business of recording. On the other side; one can see a rather flighty and dreamy soul who loves to wonder and lose herself in all sorts of art, culture and music. Earlier this week, Rié performed a live version of Business Trips at Craxton Studios. It is a performance that takes a different approach to the recorded version. It is interesting seeing the dichotomy of the versions and what the live version brings to the plate. I will let you watch that – on her Facebook page – and what an incredible rendition it is. Rié has been interviewed and spoken about her E.P. It is a work that, one hopes, will be fostered by many cities and towns. She has that London base right now but, one wonders, will she return to Tokyo in the future?! It seems her husband’s business jaunts are quite unsettling and that distance creates stress. It does also provoke creative bursts but one senses a sentiment of yearning inside Rié. Maybe Tokyo was perfect for her when she was a teen: London seems more designed for the more mature person; someone who has a vibrancy and curiosity but it is more settled and composed. Let’s hope Rié remains because she is someone I want to see perform. I love the way she writes and her strange intelligence.

Whether Business Trips EP gets a U.K. tour I am not sure but the music is being celebrated and promoted by Rié’s fans. Her social media numbers and huge and she already has that mass of fans back in Tokyo. It means her songs can be heard there – in addition to London. I will return to my earlier chat about Japanese music. I provided a few names that are worth seeking out but there are some great venues around Japan that are perfect for musicians – whether native or going there on tour. The Living Room Café is based in Shibuya and is, it is claimed, Japan’s biggest live music café. It combines art, food and music and manages to fit 300 seats into its 1,200mÇ floor. The Guinguette is a five-minute walk from Shibuya’s station and hosts live music in the basement of the three-storey venues. There are colourful lanterns and a classy feel that sees Jazz musicians take to the stage – often dressed in suits with top hats. Art Space Bar Buena is an art gallery-cum-bar that, one feels, would be perfect for Rié. It is a more ‘experimental’ space where Punk artists played and, on some occasions, the patrons wear blindfolds – tables are pushed over and all hell breaks loose! Not only is there is a variety of genres being played in Japan: cities like Tokyo are set up to house them. Metro is a hip club that attracts a younger crowd. It is one of the best venues in Kyoto and somewhere one can go to untangle themselves from the hustle of Tokyo. Taku Taku is a reputable bar and live venue that, again, seems to be established for a hipper crowd. Jittoku has stone floors – it used to be a sake brewery – and has that authentic feel.

It has been great discovering Rié because she seems someone born to perform music. Business Trips is a terrific E.P. whose stories are rich and fascinating. You do not get your average and boring love songs with Rié. Instead, there is a nod to domestic bliss and missing one’s spouse; being refused opportunity and rebelling against it; the head-mess of having to adapt to a new nation and its people. It is, effectively, the tale of Rié up until now. The title might suggest her husband’s business trips are the main focus but, in a way, she is on a business trip – both in different worlds but connected by their love and marriage. Two human beings who have had to change their life and get used to a new country is enough to unsettle the steeliest of souls. For Rié, she has based herself in a country that affords her the chance to indulge her love of art and poetry. How her life will progress from this – setting up a family or studying still – I am not sure but there is a real opportunity ahead of her. Her music is incredible and she has the chance to be one of the finest new artists on the block. The mainstream welcomes artists who are different and have the potential to remain for years. That is true of the Japanese songwriter who, on Business Trips, shows she is a force to be reckoned with. Ingratiate your soul with music that goes further and provokes more reactions than anything you’ve likely heard. The title track from Business Trips EP is a song that stays in the mind and takes your body…

 TO a strange and fascinating place.

_______

Follow Rié

TRACK REVIEW: Robyn Cage - Slow the Devil

TRACK REVIEW:

 

Robyn Cage 

PHOTO CREDIT: Bryce Johnson (for the Slow the Devil video)

 Slow the Devil

 

9.5/10

 

 

Slow the Devil is available at:

https://www.youtube.com/watch?v=W4Oe2PGKCqE

GENRES:

Alternative-Rock; Alternative-Pop

ORIGIN:

Utah, U.S.A.

RELEASE DATE:

18th July, 2017

SONG:
Written by Robyn Cage and STOLAR
Music Produced by COAV
Mixed by Brenden Bytheway and COAV
Lead Vocals and Keys: Robyn Cage
Vocal Harmonies: Callie Crofts
Drums: Zac Bryant
Viola: Ammon Chung
Synths: Caleb Loveless
VIDEO TEAM
Directed, Filmed & Edited by Bryce Johnson www.GoBigFilms.com
Set Photographer: Darryl Dobson
Hair & Makeup: Amy DeVore
Wardrobe & Styling: Mask Costume
Production Assistant: Laura Johnson
Craft Services: Nan Kemp
Featured extras: Melody Gonzalez, Katie Marie Pollard, Natalie Jones, Nan Kemp, Tabitha Dunn, Kathryn Dunn, Liam Dunn
Read the story behind the video on Robyn's blog: http://www.robyncage.com/blog

The album, Slow the Devil, will be released shortly

_______

THIS review seems very timely and apt as…

PHOTO CREDIT: Bryce Johnson

Robyn Cage has passed a milestone in regards the crowdfunding for her album, Slow the Devil. I will come to that later but, running up to that, I want to talk about American artists and the diversity of the landscape; the political climate how that inspires artists; flame-haired artists and those that stand in the mind; evoking certain singer-songwriters and fantastic imagery/videos; unity and strength at a time of dislocation and, as promised, a bit about Cage’s Kickstarter campaign. I am excited to talk about Robyn Cage’s new track – from the album of the same name – but it is interesting looking at America, tying in topics of geographical diversity, and how compelling its landscape can be. Robyn Cage is based in Utah and has the mountains and views at her door. It might seem, for an ambitious and stunning songwriter, there would be a lure and attraction of the city. In her career, she has played Boston’s Symphony Hall – thousands at outdoor festivals – and toured the prestigious singer-songwriter circuit in N.Y.C. One would feel those areas would be a natural base for Cage but, when one hears her music, it seems to take from all of America. It is important she has that experience and C.V. but these times have moulded who she is now. I do not feel we have the same range and wonder in the U.K. – when it comes to the cities and contracts. A nation like America promises panoramic cities and the history of various cities; the deserts and hot climates and the beauty and stillness of the mountains. Robyn Cage has that background touring cities and has been inspired by the people and places she has visited. To me, it is where she is now that is most instrumental.

PHOTO CREDIT: Carla Boecklin Photography

I am not sure whether there was a single moment - or series of realisations – that led the red-headed singer-songwriter to Utah. Talking about the state and, easily defined, one can distil it to this (taken from Wikipedia):

“Utah is a western U.S. state defined by its vast expanses of desert and the Wasatch Range mountains. Salt Lake City, the capital, is centered around Temple Square, headquarters of the Mormon Church and site of its majestic temple and tabernacle, with its massive dome and renowned choir. The Great Salt Lake’s buoyant waters attract swimmers and sunbathers, especially at Antelope Island State Park”.

One can see the sites and splendours of the state: no wonder Robyn Cage would have been seduced and pulled to Utah. She is based in the Park City area and has National Parks like Zion, Arches and Bryce Canyon not too far away. One need only look at her promotional shots and videos to know she has a real affinity and connection to natural and beauty. That is why America fascinates me: there are so many contradictions and polemic sides that give one songwriting influence. What interests me about America’s artists, as opposed to ours in the U.K., is how they connect with their surroundings and produce the best music in the world. I have changed my mind slightly regarding the nation that produces the best music. We, here, have some extraordinary history but, when it comes to the contemporary artists defining 2017; that seems to be reserved to the U.S. Maybe it is the political climate – I will expand on that soon – or an innate affiliation with their history, climate and people. Robyn Cage has an almost-spiritual bond to the earth and the mystique, beauty and stun. One detects these components and themes on her previous material but, when listening to Slow the Devil; there is a direct nod to political figures and the need for people to come together. American artists are rawer and more striking, when it comes to addressing politics and the need for unity, than we are here.

PHOTO CREDIT: Carla Boecklin Photography

Perhaps the stakes are higher there – and the suppression and repression more severe – but the musicians in America are articulating a frustration and malaise that is, one hopes, leading to a revolution. Returning to Utah, for a bit, and the Western state is the thirteenth most-populous of the U.S. and has three-quarters of its population living along the Wasatch Front – centering on the state capital, Salt Lake City. It has Colorado, Wyoming and Idaho around it; Arizona and Nevada close at hand. There is a big Mormon population but, away from that, Utah is a modern and growing state that has high-earning businesses and a great economy – one burgeoning and growing by the year. Utah, interestingly grated women the vote not long after Wyoming – the first states to make that important decision. Despite the fact the state is largely a Republican battleground; they have an open-minded approach to same-sex marriages and women’s rights. There is a definite sense of contrast when it comes to political and social rights – a state that wants equality and is very modern; still holding to a political party that longs for the past. Maybe its religious population yearns for a more together and unified population: it seems to be attracted to an ideal of Trump’s America, too. I shall return to that point but Utah, to me, seems like a state that is a lot more forward-thinking and together than other parts of the U.S. I feel a lot of those wise decisions stem from the landscape and physical beauty of the place. Those mountain views and deserts create a sense of reflection and calm. The likes of Jon Bon Jovi, The Killers and Demi Lovato have exploited the serenity and atmosphere of Utah. It is a part of America that, to the outsider, seems old-world and simplistic. When one researches and investigates more; there is a tangible and evident modernity and evolution. It is a state as synonymous with technology and youth than it is the vintage and rustic – the state has reputable universities and a vibrant young populous.

PHOTO CREDIT: Darryl Dobson Photography

Robyn Cage, one knows, will vibe and take from the state and all the colours it offers. Fellow Utah musicians like Parlor Hawk, The Moth & the Flame and The Blue Aces are showing what variation and quality there is in the state. The latter, in fact, are natives of Provo have the directness and evocativeness of Alabama Shakes but are an original and highly effective. Desert Noises, coming out of Provo, have Southern-fried magic and create music that, not only speaks to Utah residents, but has resonate across the U.S.A. Jay William Henderson is a local hero and has a set of sophisticated arrangements that perfectly accompany his heartfelt and striking voice. Koala Temple, in contradistinction, see themselves as ‘Gloom-fi’ but, has a sense of nostalgia and vivacious that belies that rather moody and off-putting tag. 

L’anarchiste recalls the likes of Grizzly Bear and Foals and provide progressive Folk of the highest order. Lush and fulsome production gets the songs into the brain and seeps into the imagination. That is merely a nod to the variety of artists performing and succeeding in Utah. The state is, like many in America, a productive and eclectic market that stretches beyond the confines of the inhabitants. Robyn Cage, even in a state that has a range and musical treasure chest as vivid as the surrounding landscape, seems to stand out – but she takes from her contemporaries in a lot of ways. I will come back to that in my conclusion but it seems like Utah has a very hospitable and supportive music network. I want to return to Utah but, looking at Robyn Cage, I want to discuss her musical motives and inspiration points. On her bio (on the official website), she starts my offering this insight:

“Last Spring, I spent a week alone camping in the remote red rock desert of Southern Utah. No internet, no cell phone service, and not a soul for miles,” she shares. “It was magical. Songs poured out of me, starting with this optimistic ukulele tune called “Flying Machine.””

Then…

PHOTO CREDIT: @carlaboecklin

“…one morning, she woke up with a song in her head. “Slow The Devil” was “a gift from the songwriting gods, and the closest thing I’ve ever written to a protest song,” she says. “I realized that music was helping me through these dark times.”
While Born in the Desert is an ode to self-expression and loving what makes you different, Slow The Devil is a call for Unity and loving what makes others different. “I don’t believe that ‘Unity’ means we should all be the same. For me, unity is about celebrating diversity,” Robyn shares.

Cage retreated to an idyllic and detached are where modern appliances and the distraction of social media held no appeal – keen for people to connect with the land and not be obsessed with the Internet. A perfect chance for reflection and inspiration: returning home and a more modern surrounding; she noticed how her country had changed. One spring, when looking around her, she noticed the climate and feeling in the country had changed. Whether it was a pre-Obama thing – or started when Trump came to The White House – something had altered for the worst. The people had become colder and more distant. One can look at this separation as a gift from the Trump administration but, looking at the racial tensions and gun violence that was percolating in the U.S. – perhaps a sign of growing fears and a need for something different in the country. I would not suggest Trump’s victory is a result of confusion and a need for a radical change in America – feeling the country was being taken over by outside forces and ‘spoiled’ by foreign people – but, against that time of balkanisation and trouble; the people made a rather worrying decision. Few could ignore what was happening around them and not address it. Robyn Cage is an artist who has always taken from events happening around her so, seeing a nation become cold and cracked compelled her to put her pen to paper. Slow the Devil, in a way, is broader than a judgement against people like Trump. It is that feeling (the nation) is beholden to dark forces and an evil that has no place in a country that promulgates unity, liberty and freedom. I mentioned how America is leading the way when it comes to urgent and socially aware music – more strident and enflamed than the British variety. The Triple-X Bourbon America gives the world makes our paler and alcohol-free brew seem rather weedy. What I mean is artists like Beyoncé and Kendrick Lamar, in Lemonade and DAMN., have produced albums that perfectly document the struggles and troubles in America.

PHOTO CREDIT: Carla Boecklin Photography

Robyn Cage, by comparison, is less inflammatory and angered than many of her peers but is eager to confront the splits running down the spine of the country. Politics is a rather risky side of things to get into: many artists can get it wrong and it’s difficult writing a song that makes you think. In a lot of ways, a song like Slow the Devil, and many songs that will be on the same-titled album look at people, love and the self. It is not only about the state of U.S. politics – but, there is a determination to examine why the people are on different plains and reading from different hymn books. With Cage, there is this sense of loving and ecumenical that gives her music an almost religious ideology. I am not sure whether Cage has faith – and, like a large percentage of Utah’s people is a Mormon – but one does not need to have religion to find faith. Cage does not sermonise not hector: her music is a hugely romantic, emotional and spiritual sound that needs not pontificate, judge nor discriminate. Her music has a conscientiousness and is keen to examine why her nation is feeling strained. There is something alluring and tempting about Robyn Cage. Not in a sexual way, you see – well there IS; but that is not where I was headed – when one sees her. The flame-haired songwriter is striking and eye-catching. Without hearing a note, she projects a sense of authority and mystery. Her promotional shots and videos utilise the beauty of her surroundings and show she is someone to be taken rather seriously. It may seem odd me looking at red-headed artists but, in a weird way, there seems to be a colour connection between Robyn Cage and her idols. Maybe it is the fact red-headed artists are rarer (than brunettes or blondes) or it may not to a sense of romance and allure – there is something about artists like Robyn Cage that stands in the mind longer than you might think. She is someone that makes the heart skip but, when hearing her songs, that spreads around the body and lingers in the mind.

PHOTO CREDIT: Carla Boecklin Photography

Artists like Tori Amos and Florence Welch are two artists Cage has been compared with – both are red-headed, strong and unique songwriters. Whilst there is a generational gap between Amos and Welch: both are defined by their beguiling music and powerful deliveries. The fact they are both red-headed makes me curious – whether the flame hair, in some way, ignites the music. It might be coincidental but it is interesting Robyn Cage finds inspiration from Tori Amos and Florence Welch. Those songwriters are established and legendary and, the fact Robyn Cage stands alongside them, is testament to her strong and nuanced music. It is not only her hair and extraordinary music that lingers in the imagination – there is a professionalism and determination that sets Cage out for long-term stardom. I have already mentioned her Kickstarter campaign – and will come back to it – but it has, as of last night, closed. Over two-hundred people contributes and $20,000 has been generated. Cage has supplemented the donations online with house concerts and performances. This means, not only will her album be able to spread its wings, but that money can be used on promotion and videos. Just look at her photos and there is a high-quality standard that few of her peers uphold. One sees these wonderful images and looks at her official website – full of information and links. One of my biggest peeves is when artists approach me and have very little to recommend. Their music might be fantastic but, if I am reviewing or interviewing, there needs to be photos and information. If I have an interview with a few grainy images – and a paucity of biography – then that reflects badly on me. It shows, more than that, the artist is not taking things are seriously as they should. There is an inherent link between exposure/fullness and the intent of a musician. It is not good enough – something I hear endlessly – for music to do the talking. Music, today, is a competitive and highly professional industry that does not want its artists untucking their shirts and slacking off with regards the household chores.

PHOTO CREDIT: Carla Boecklin Photography

It wants them to be a free spirit but dress with sartorial elegance and ensure their housekeeping is assiduous and diligent. Robyn Cage ensures her social media is updated and there are loads of great images for her fans. Many will argue the visual is not as important as the sonic: if you are a musician who wants to attract reviews and supporters; it is paramount you take every aspect of the industry seriously. Going back to Robyn Cage’s Kickstarter and, having passed a milestone (and closed its door); it shows there is a great bond between the songwriter and her fans. Cage, as she says herself, is someone who knows music is free and available these days – it does not mean it needs to be devalued at all. The fact so many have thrown their weight behind her album shows there is a demand to foster musicians and ensure they receive adequate support and equity. Wrapping everything up and it seems, when one looks at Robyn Cage’s music and output, she is someone who takes music very seriously. Her Kickstarter campaign has ended but there is a legacy and lesson that has come from it. I have been amazed by how many people have backed Cage’s campaign but it’s clear there is a lot of affection for her.  When speculating as to the reason why so many people have supported the album drive, it can be broken down to the personality, music and professionalism. The videos and images how Cage is someone who looks for beauty and the memorable in everything she does. Her photoshoots and campaigns are well thought-out and beautiful. The videos are filmic and seem to have the ability to transfer into longer pieces. It seems Cage is a professional musician who could make it as an actor – as she has a theatric and dramatic talent that few musicians possess. The music itself is among the most original and astonishing I have heard. The vocals are immensely griping and affecting; the lyrics mix personal and universal whilst the compositions are busy, diverse and accomplished. Throw that together with a woman who is bright and lovable; friendly and open. All of this has resulted in a huge wave of affection from her supporters. This should act as guidance for any musician who wonders what it takes to get people to back their music – and gain success and longevity in the music industry.

PHOTO CREDIT: Bryce Johnson

Anyone who wants a song they can instantly bond with should direct themselves towards Slow the Devil. As a representation of Robyn Cage’s album – this, as its title track – it is a wonderful revelation and realisation. The opening shots of the song’s video (directed by Bryce Jonson) take us over icy mountains and a cascading waterfall – looking more like the depths of Iceland rather than Utah. The opening notes of Cage’s voice are as striking and evocative as the setting. A view-rich, physical sound that sees the heroine viewing the Devil in his Sunday best. Her soul and body are unassigned and departed: a sense of emptiness and surrender rushes from the first verse. One hears definite embers of Florence Welch in terms of the pronunciation and punctuation of the words. It is a flourishing and bellicose delivery that manages to steal focus from the lush and gorgeous vistas. The heroine is in the forefront and enraptured by the situation she finds herself in. There is a wicked dance unfolding – the entwine of Hell’s Tango – as Cage starts to slip away. Of course, the words are a virtual and spiritual representation of a pain that is as personal as it is common. Maybe the state of the nation – people on different plains and in different minds – is causing her strain but it appears there is a personal aspect to the song. Perhaps there are burdens of love and thought: unable to reconcile the state of her life compared to that of her country; feeling unsettled and foreign around people who seemed familiar and family beforehand. One feels, based in Utah, there might be some separation from the real compaction and explosion in the country – a slight geographical distance from the political arguments and the President’s agenda. There is a division, for sure: Robyn Cage wants to create a community and neighbourhood of like-minded souls. Tarnished and harrowed by the seismic shifts and rumble of turbulence; the vocal, for the most part, remains dignified and restrained. There is a gorgeous Country-like twang and hold that has a fluidity and smoothness. It mixes with a clarity and crystal tenderness that puts me in mind of Kate Bush – whether that is someone who inspires Robyn Cage.

In terms of the composition; there are beating percussion notes and strings lingering. It is kept quite light but manages to elicit a vibrancy and ominous quality. Robyn Cage’s songs are defined by their fullness and compositional intelligence. Here, in these early stages, that need to let the voice have its say is evident. One hears some intriguing undercurrents but is drawn to the heroine. Slow the Devil is as much a prayer and supplication as it is an exposure of fear and torment. It is hard seeing your people on different sides of the fence: fighting and arguing; conflicted and conflated; burning and judgemental. I have stated how Trump’s ascension might have influenced the song but the origin and story of Slow the Devil seem to hark back even further. There has been unrest in America for years. Many have felt the level of gun violence is unacceptable: the President unable to get a hold on it and compromise. It is hard saying just how wide Cage’s influence runs but it clearly has a lot of relevance in the current climate. America is still very unruly and not able to unify its people. One hears a mix of Synth. and Country mix with Alternative and Indie. On the one hand; there is a bubbling electronic sound that sticks in the mind. It seems to represent confusion and a physical release impending. The beats remain strong but become more pressing as the song progresses. The mood gets more intense and probing; there are yearning strings and something romantic working underneath. All of this put together – backed by COAV’s intuitive and assured production – means the song really strikes hard. STOLAR co-wrote the song and brings his voice and talent to the mix. It is a combination of talents that could have failed but does not. Cage’s voice gets more heated and passionate as the words indicate a sense of helplessness.

PHOTO CREDIT: Carla Boecklin Photography

“Every morning, feel you when I wake” so goes the second verse: “Wash myself of your sins and shame” provokes religious images but it seems less righteous. It is a very real way of washing away a sense of disgust and dirt – that has been accumulated by the rising tides in America. There are bloodied eyes and pointed lies – maybe it is someone personal or a political figure?! My mind is split between the two possibilities. In a way, Slow the Devil can only really be about someone who wields power and uses it to further their remorseless and questionable desires – almost an allure and sensuality to the way Cage renounces their spiked tongue. The pointed-tail Overlord is moving in a merry fashion: the need to be together and of one mind is enforced. I cannot get over how passionate and emotional the vocal display is. There is so much in the delivery that it is hard to get a handle on. As Cage lets her voice rise and swoon; the beats and electronics build up like an army. It is an evocative and compelling sound but not one that becomes too intense or intruding.  It seems the heroine is not willing to relinquish her soul to this cruel figure. Many people around her are being tempted to a darker side: this is not going to happen to someone who wants to see her country and people returned to their former best. Given the relevance of the song; Slow the Devil will resonate with many and create something. It affected me in terms of the lyrics and vocal. Cage takes her voice to new heights and seems engrossed in every single moment. The lyrics have simplicity but, in a sense, it reads like poetic prose. One envisages scenes and possibilities; all manner of dark and staggering possibilities. By the end, you are exhausted and moved by the song. It is a stunning release from one of America’s finest emerging songwriters. Small wonder so many (including myself) backed Robyn Cage’s Kickstarter campaign – given the strength of her music and how different it is.

PHOTO CREDIT: Carla Boecklin Photography

I will end this now but, before I come back to the earlier themes, want to see where Robyn Cage is heading. I know she has new music – single-wise – very soon but I was keen to look at Slow the Devil’s title track – seeing as the video was revealed a week ago. It seems Park City provides ample opportunity for the young American. Looking at her tour diary and one sees the Montage Vista Longue (tonight) begin a run of dates that takes in Prime Piano Bar and Riverhorse of Main. It seems she splits her time between Montage Vista Lounge and Prime Piano Bar. Whether she has residency there or feels more settled among its people – valuable bookings and chances for Cage to spread the word and bring her music to the people. I am not sure whether there will be other U.S. dates this year – whether she has time to fit them all in – but the past twenty-four hours have been hugely important for Robyn Cage. If one wants a fuller sense of Robyn Cage, I urge them to take to her YouTube and Facebook pages. On Facebook, one can see Kickstarter updates and her speaking to fans. It is great seeing those clips of her providing updates and keeping fans abreast. Not only a window into her home (and soul) but a way of connecting with her fans – refreshing to see it in an industry where many are falling short of the mark. I’ll touch back on her Kickstarter campaign but I am so glad it has reached that $20,000 marker. It means all the music can be completed and produced to the highest standard. When the album is completed and out to the world; from there, Cage can think about new music videos and making her promotional shoots as professional and ambitious as she can. That money will also go to touring and getting out to as many people as possible. The U.S. is a vast nation and one that, in every state, provides plenty of spaces to perform in.

PHOTO CREDIT: Carla Boecklin Photography

I hope Robyn Cage comes to the U.K. at some point because there is a definite market for her over here. I looked at, among other things, red-haired artists and musicians like Florence Welch and Tori Amos. The Florence + the Machine lead has not released an album for a little bit and there seems to be a vacuum there. No artist like her is making music and one feels many would welcome her spirited and extraordinary music right now. Similarly, there is a real demand for Cage’s music. She cements a general feeling of unity and the need for change. Her lyrics look at the nation and how things have got tangled. The Devil is that embodiment of repression, struggle and negativity. Slowing that ill is something many are trying to do: the album’s title cut is a perfect distillation of feelings many of her country’s patrons share. I am not sure whether the track looks at the changeover between Barack Obama and Donald Trump and how the nation has transformed since the latter came to power. I know many supports Trump but it seems there is a lack of faith when it comes to his leadership. Those who support him are perpetrating ideals and values that seem to clash with those who favour progressivism, togetherness and equality. I have not seen America this divided in decades and it is a worrying time for the people there. We are in a similar situation in the U.K. Our Prime Minister is making foolhardy decisions and leading the country in a bad direction. The world is less assured and safe than it was so I can understand the need to profess a certain anger and annoyance. I am looking forward to seeing Robyn Cage’s album in the ether as it is a record of the times. Not only are there political and social concerns but plenty of emotion and personal revelations.

PHOTO CREDIT: Carla Boecklin Photography

I will bring this to close but want to end by returning to Utah, Kickstarter and Cage as an enigma and beauty. Her album campaign ended and reached an incredible mark. It shows platforms like this are crucial: crowd-sourcing is a great way of artists being able to fund their music and ensure the songs are brought to a wider audience. Many artists are struggling in the current climate given the fact music is (largely) free. It is a strained economy that finds so many having to gig relentlessly and break their backs. There is no easy way to overturn this and ensure there is a sense of structure and fairness. Robyn Cage knows music can be free but she knows it should not be devalued and taken for granted. Fans agree and, as such, she has ensured her Slow the Devil camping gas fruited and grown into something beautiful. Many have got behind it and want to see the music out there to the masses. I have mooted whether she will come to the U.K. but there is enough of America waiting for her. Utah is a magnificent state but one that is close enough to areas like Nevada and, it seems, The Beehive State is close enough to the West Coast. Cage could tour in California and find popularity there. I am not sure whether she is tempted to play out there and feel her music would connect with the people. I speculated Robyn Cage’s music took a lot from the diverse landscape of Utah. Those huge mountains and vast deserts; the contrast between the built-up areas the wide-open sweeps. Atmosphere, passion and calm feed into the music but there is evocative and fiery intensity that one cannot overlook. Here is an artist who has the potential to carve out a large chunk of the U.S. and find success throughout the nation – come to Europe and get her music to the people here. Looking at Utah and, aside from the spots Cage performs at, there are many others she might find favour in.

PHOTO CREDIT: Todd Cole

Look at Robyn Cage’s Kickstarter site to see how much the donations mean to her. This affection and appreciation, one hopes, will parlay into some gigs around Utah. A lot of the more popular spaces are situated in Salt Lake City but Kilby Court is somewhere that would be set-up for Cage. It is a hole-in-the-wall venue that has attracted the likes of The National, Vampire Weekend and Bowerbirds. The venue finds unique talent and is a great stop-off for rising artists seeking a wonderful, unexpected treat. The Depot features small Rock performances but they do switch genres here and there. Michael McDonald and Alice in Chains have performed here and (the venue) draws an eclectic crowd. Head to 400 West South Temple and one might encounter a great new artist in this trouble-free space. The Urban Longue is one is the best venues in Utah and has hosted artists like Sleigh Bells and Unknown Mortal Orchestra. I could see Robyn Cage performing there but, in reality, she might be too busy with the gigs she has – and getting the album out there and completed. With the Kickstarter success fresh in her heart; it will be a busy next few months for the young talent. There is something arresting and heart-breaking about Robyn Cage. In a time where the looks of female artists – men finding them more valuable than the music – are put under the microscope; it feels rather shameful highlighting Cage’s natural beauty. Not that this will ever take prominence (for me) over her music but it is hard to ignore the immense beauty and allure of Cage. This beauty is reflected in music that mixes calls-for-unity, strident anthems and huge anthems. The flame-haired musician is one of the most mystifying and staggering in the music world and someone who is in my mind. I have been stunned by the incredible potency of Slow the Devil – a tantalising insight into what the album will possess. There is a lot of love for Robyn Cage that extend beyond the U.S. When her album is made public; it will find her getting attention from stations over here like BBC Radio 6 Music. I will do my best to bring her to their attention because we need to have her over here. It is a great and prosperous time for a musician whose glory and success…

HAS only just begun.

_______

Follow Robyn Cage

LIVE REVIEW: LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

LIVE REVIEW: 

IN THIS PHOTO: Pillow Queens

LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

________

THE signs looked ominous as the rain decided…

Lewis1.jpg

IN THIS PHOTO: Lewis Fieldhouse/PHOTO CREDIT: Juliette Carton

to royally cack itself all over Harringay (and other parts of the country, for that matter – it isn’t that selective) and the, predictably, unstable British weather had a bit of a paddy. Another wet Sunday and what better place to be than under the roof of The Finsbury – there are others but it seems rude to mention them in a feature about the place! In any case, it was a pleasure returning to the bar and one of the best small live venues in the capital. Not having met any of the three acts that were due to perform last night; I was curious how they would all blend – and whether there was going to be any clashes in sound; a bit of an imbalance.

Before that, and it seemed like things would go pretty well. Meeting the acts before the gig took place – and offering a few of my 'free beer/cider can' tokens (I was driving so had to be ‘good’) - it was interesting seeing their reaction to the place. Going through the sound-checks; I got a chance to see the acts for the first time. Everything went smoothly and it seemed, just before the punters started to roll in, everyone was happy.

It was, then, down to the act of performing….
 

Kiera Court

PHOTO CREDIT: Julien Lallouette

One of the most charming and unique artists on the night; there was something captivating about Kiera Court. She is only twenty – it was mentioned a few times on stage – but that made the set all-that-more-remarkable as she handled the impressive-sided crowd with confidence. It was, away from the songs, the rapport and conversation that gathered laughs and smiles. Many performers rattle through songs and do not engage with the crowd: Kiera was eager to chat and explain the songs and their origins. It seems, for most of the tracks, a particular guy was the inspiration. Whilst pretty cracking to look at – her words; not mine – it seems, as is the case with a lot of relationships, his morals and loyalty didn’t match his looks. Getting that background – mixed with humorous and vivid backstory – provided us exposition and depth. The songs, as such, meant a bit more than, say, they were delivered with nobody knowing anything about them. It was clear, even before a note was played, Kiera has a stage presence and personality that draws you in. The audience was charmed and were enraptured by the performance. The sparsest set on the night – just Kiera and a guitar – it was a brave and seamless set that saw the likes of Hot Mess, Cinnamon and London Town delivered. Cinnamon’s title was added later in the creative process – Kiera was, as you’ve guessed, eating cinnamon when searching for a title – and showcased the purity, range and beauty of her voice. Hot Mess, one of the jumpier and more energised moments, was first out - and got a great reaction.

PHOTO CREDIT: @allison__stoddard

Joanna, dedicated to and about her friend, was a tender and exceptional song. Among the other songs she delivered; it seemed any pre-gig doubts were unwarranted. It was a great start to the night and, long after the performance was over, people were talking about it. Kiera recently released her E.P., Angry Face & Boat Shoes and has dates in London on 31st (The Social) and Apples and Pears Bar (on 9th August). Look at her Facebook page (below) to keep up - but I would thoroughly recommend seeking her out. She is an assured, memorable and compelling performer whose performance/songwriting talent belies her years – someone who is barely out of their teens should not be that good! In any case: Kiera is moving to London very shortly – not too far from The Finsbury, in fact – and will give her centrality and convenience. She has other London gigs approaching but I can imagine, on the strength of the performance at the likes of The Finsbury, she will be getting many more requests. I caught shades of Lucy Rose and This Is the Kit in Kiera’s vocals and a nod to classic artists – someone whose tones, lovable personality and huge talents will see the people flock to her gigs.

PHOTO CREDIT: Ray Roberts

If Kiera Court’s performance was the most unadorned and uncomplicated; Lewis Fieldhouse’s was the most eye-opening. Not only because of a rather natty and awesome shirt – the sunshine well and truly brought to N4 – but the stories behind his songs. Kiera’s tales concerned moving to London and friendship; a jerk of a boy that, despite his prettiness, left his marks. That seems normal for a teen/twenty-year-old but, for someone slightly older, one might not expect the kind of inspiration that Lewis explained. Accompanied by two fine fellas – whose voices thickened the harmonies; the keys/strings backing heightening the drama, beauty and rawness – Lewis provided the crowd with revelation. Theodore Washington and the Central Valley had its heart in a U.S. trip Lewis took back in 2013 (apologies if I got the year wrong). At the time, his mum was diagnosed with cancer and, rather cruelly, he was dumped six days into the trip. The American voyage was a chance to reflect, discover and detach. Whilst there, as one can hear from his album, there were bar-room dwellers and strange characters; some gorgeous scenery and the open road. Songs performed on the night – in their origin – included loose women, failed love and stark realisations. Fell in Love, F*cked It Up, opening the set, boasted a chorus that, by the second time around, was in the head and being sung by members of the crowd. Live So Fast, Kiss So Slow, a sprite and body-moving slink; Istanbul (based on a trip Lewis and his at-the-time-girlfriend were going to take before they split - the bitch!) more emotional and introspective; He Hath Made You Rich a highlight and crowd favourite. It is a song that has energy, addictiveness and memorability – one of those big choruses that, despite the self-flagellating and harsh subject matter, is one that embeds in the mind.

PHOTO CREDIT: Ray Roberts

The performances (from all three, in fact) were wonderful and it was the vocal blends that provided some of the highlights. In a lot of ways, the harmonies put me in mind of Fleet Foxes. One got the same lustrous and cascading tranquillity; the heady rushes and sweet-scented perfumes. Lewis, like Kiera, is another performer who has that ability to banter, connect and charm. Among the between-songs chat; we learned that his mum is doing well (kicking the cancer) and things are getting back onto an equal footing – he laughed that, although he was hanging with some luminous characters in the U.S., his love-life is pretty good now. As a singer; Lewis showed he was able to produce those graceful, spine-tingling high notes and the growled and lower contrasts. A full and gorgeous voice that added dimensions and physicality to the performances – another performer I would recommend everyone check out. Lewis hung around after his set and was selling C.D.s and chatting to the audience. I would recommend, if you can, buy his album - and bond with a brilliant musician with a big future. Lewis has a gig coming up in October but you can get abreast of all his happenings on his social media platforms. Like Kiera, again; another performer who has many years ahead of them. I look forward to seeing how Lewis follows his current album and whether its inspirations will be as astonishing and rare as hedonism and transformation in America!

I was a bit worried, because the weather was a bit crap, I had brought Dublin’s Pillow Queens all the way to London and provided them damp meteorology. Fortunately, they have another gig in a few days (in London) so it was not a one-off trip. The fourth gig in the country – other dates included Nottingham and Exeter – the quintet – rocked up to The Finsbury and, before taking to the stage, sampled the pizzas, beer (and cider) and ambience of the live room. It is clear, from meeting them, they have a real accessibility, wit and connection. I am not sure how long they have been together but they have a huge affection for one another and unbreakable (sisterly) bond. This translates onto stage where, from the opening seconds, one knows they are in the presence of a mainstream-worthy band. The headline act on the night; they managed to draw a really healthy crowd – the numbers for all three acts were better than expected (even though the quality was very high; the fact it is Sunday, and the weather was hostile, could have driven many away). It seemed, as they joked, half of Ireland was there to see the girls storm the joint! That they did as, from the introduction notes, they were going to get a big reaction. Again, an act that can put the audience in their palm and get big laughs and reaction.

Throughout the set, we heard anecdotes and insight. Rats, right near the end, trying to follow it, was kinda-sorta influenced by Michael Jackson’s Ben – the vermin-related songs not exactly common; if you’re going to be inspired by anyone, Jackson is a good start. I am not sure whether it was the craic or, perhaps, the beer, but there were giggles, long-winded explanation and comedic story-telling. I am not sure whether the story is true – I bought it – but the girls were brought to teary laughter – I believe, as they say, this anecdote might be repeated for their next gig – but the song was a stormer on a night when Pillow Queens saw the poor weather and added thunder and lightning to the mix! Even from sound-check; it was obvious the noise would be something to shake the walls. The crowd were jumping and, even though many had not seen the band before, were singing back parts of the first song. They were amazed the music had that telekinetic quality.

The thing about Pillow Queens is the fact that, when you hear a chorus, you are compelled to chant it and provide it support. The songs seem to blend Pixies-like Punk genius with the vocal range and sweetness of someone like Waxahatchee. If one can think of a few names to tie to the Dublin group it is, in fact, their individuality that sets the tone. Switching instruments between songs – bass and guitar exchanged – they are one of those bands that are adaptable and multi-talented. By allowing inter-changeable lead vocals and guitar/bass leads; it afforded the set a variability and freshness that did not compromise fluidity and structure. Cathy, Pam; Rach and Sarah are musicians I am keen to hire/see again and, if we can tempt them back to London, it would be awesome to put them up. This was the first time in the capital and, considering that, the turnout was staggering. They joked – or with some seriousness, in fact – they needed petrol money so, if the audience liked what they heard, to donate and buy their music. It was their banter and humour that balanced out a fierce and passionate set. Many did not want them to leave the stage (me included) because they really got into the hearts of the crowds. Queens is their U.K. tour and, between songs making it to seven-inch and plans afoot, it will be a busy one for them. If you can catch them at New Cross Inn (London) In on Thursday, I recommend you do – a show you will not forget in a hurry!

PHOTO CREDIT: @richard.burke

Apologies must go to the girls who, I am afraid, did not get a chance to say goodbye to – after their headline set; they had their fair share of admirers eager to chat. Having to catch the last train, it meant a dash across London but, I will see them very soon, and was so glad they were able to come. It was a felicitous, week-defining and marvellous event. Apologies to all the performers who, in spite of producing epic and fantastic sets, were marred and let down by a faction of the audience. Aside from the fact the live room is quite small – and has a door either side – people were coming and going and not showing good door etiquette - the constant to-and-froing must have been a distraction and unwanted noise. The worst was the chatter that, despite the fact people have been to gigs before, thought nothing of chatting during songs! It is this kind of behaviour I cannot tolerate and was reserved to the minority – a few drunk guys, especially during Pillow Queens' set, were chatting throughout songs and their conversation. It added a stain to the otherwise-stunning night and made me a bit cross. Idiots and ingrates aside; a host of positives and great memories from the event.

Thanks to Giedre (from Lost in the Manor) for making it happen (with Chris Sharpe) and being there; the staff at The Finsbury and, above all, the trio of artists who made a dreary and rain-cast Sunday evening…

Lewis4.jpg

PHOTO CREDIT: Ray Roberts

ONE to treasure!

TRACK REVIEW: Luke Edney - I’ve Been Waiting

TRACK REVIEW:

 

Luke Edney 

I’ve Been Waiting

 

9.3/10

 

 I’ve Been Waiting is available at:

https://www.youtube.com/watch?v=3IwA5ZlBNcQ&feature=youtu.be

GENRES:

Rock; Blues; Pop; Folk; Pop; Alternative

ORIGIN:

Surrey, U.K.

RELEASE DATE:

21st July, 2017

PHOTOS:

J. Law and L.Edney

_______

LATER today, I am heading off to Harringay…

and seeing three artists take to the stage there. The destination is a lovely pub, The Finsbury, that, not only keeping things quite literal, is a great and underrated space for artists. It is the third time I have visited the place – I am there later in the year – and I have been fascinated by the artists who have played there the last few months. The reason I raise this is that there are spots all over London that are hidden and underexposed. I will start at this point but, when talking of Luke Edney, I want to address Rock; song subjects and living locations; the proximity to London and how one gets into music; song subjects and getting an education, quite literally, in music. Edney is an artist who has a sound that can translate to various venues and appeal to a broad range of people. The Finsbury, and its attractive stage is someone I can see Luke Edney playing very soon. I am not sure what his touring schedule is like but he, like every artist, will want to get out there as much as possible. I think this is an aspect many artists overlook: getting out into the public sphere and ensuring your music is heard. That might sound exaggerated but few artists are being proactive and passionate about getting gigs. I know there is a lot of effort for the modern musician – recording and promoting your music; getting it exposed and keeping on top of things – but it seems, with Edney, there is that desire to have his songs heard by the masses. In terms of looks, one might lazily compare him to Ed Sheeran – the ginger and cool facial hair; the acoustic guitar – but, luckily, he only shares personality traits with Sheeran – the music is very different. There is something naturally cool and effortless about him that will attract a lot of people in.

I know how hard it is distinguishing yourself from the crowd – there are, literally, thousands of guitar-wielding solo artists in the Home Counties alone – and I get that. Back to my point about gigs and spaces; the artists who exploit the smaller venues will be able to clean up. We have all heard how fragile and hypoxic the smaller venues are and the fact the live music scene in the U.K. is dwindling. I am upset seeing cracks form but know, the only way we are going to see a resurgence is by encouraging people to get out there. The only way this will happen is promoting and supporting the best artists. There is something classical and contemporary about Edney. He has a natural confidence and looks that gets into the mind but his mannerism, back-story and music seem to connect with the past. Couple that with a passion and conviction and here is an artist who has the energy and work ethic to hit as many venues as he can. I feel places like The Finsbury would be perfect for him but, being so close to London, there is an array of venues he can play. Many might say that, given the competition, there will many hustling for the same opportunities. It is about reading the market and doing research. It is not good rocking up to a venue and asking to perform there – you need to know what music they host and the type of musician there are looking for. In terms of Luke Edney; he mixes Rock and Folk tones and, in my mind, is a lot more adaptable and promising than most. I would urge him, to promote his latest single, hit up London especially and those spaces that support similar artists. The independent cafes and coffee shops are a great starting place; supplement that with some cooler bars and build that foundation. From there, later in the year, launch another attack and other spaces in the capital. Great venues are always looking for top talent: stubbornly applying and proving oneself is a good way to stick in the memory and get the people in. I know Edney knows all this but, in London alone, he can compartmentalise the place into ‘North’, South’; ‘East’, ‘West’ and ‘Central’ and draw himself up a mini-tour hit-list. I hope he does consider it as, on the strength of his music so far, there is a lot of potential.

One of the reasons I am flaunting London like a ragged pink boa on a middle-aged drag queen is a sense of desperation and vicarious longing. I, like Edney, am based in Surrey and I, unlike Edney, hate the place. It is not a secret confession but it revolves around the people – shall not get too detailed and vicious. Suffice to say, for several reasons – attitudes, intelligence; politically and their overbearing self of entitlement – they get right under my skin and cause a lot of depression. Surrey is a big county and there are a lot of cool people there but there is, in certain parts of the county, a toxicity that is not exactly attracting the best young musicians. I am not sure how Addlestone is stocked for venues – and what the people are like there – but I know the county is struggling to retain its musicians. There are a lot of pubs around Surrey but few genuinely great and reputable venues. The cities will always be the places people gravitate towards and set up to accommodate musicians. In counties like Surrey; there are the odd places here and there but there are limits. Even though Edney plays a mix of Rock, Blues; some Country and Folk tied in; the music tastes in Surrey – certainly among the venues – seems a bit limited. There is going to be that zeal and leaning towards the mainstream and slightly less-interesting artist. If one, like Edney, wants to find longevity and a huge audience, the cities are the places he needs to consider. Looking at his promotional material and he seems to bond with the scenes and countryside of his home – I can appreciate how the solitude and beauty resonate in him. That must provoke inspiration and creative outpouring but, the other end of the process is getting the music out to the people. I wonder whether there is a varied and viable scene in areas like Addlestone.

He, in my view, speaks to a younger audience and those who know their music – not dilatants and those looking for chart acts of the future. Maybe the proximity to London means he gets the best of both worlds, in a way but, I feel, he is a man ready-made for the city. I go down to Brighton as much as I can and always find myself comfortable among the people and the way of life down there – so many good venues and spots for musicians to cut their teeth. I am not sure whether that is an option for Edney but, if not, there are two cities that seem to leap out: Manchester and London. I am not running an anti-Surrey campaign – even though I hate the place – but know so many young people finding few opportunities. It is not that exciting and, if you are ambitious, you move away and go where the people are more open-minded, considerate and youthful. The reason for my vitriol and promotional compunction is the fact, in Luke Edney, here is an artist who is close to the capital and has music that differs from everything out there. I have smacked Surrey down but it has a lot of local spots/venues that are a good starting-point for any musician. It is essential he gets that grassroots experience and builds a name in his hometown. Even though local radio/press is a bit naff; collecting as much kudos and support as you can impresses and builds the C.V. I am thankful; actually, he is based where he is because, if he was raised in the city, one feels his music would be a bit more cynical and different. The woodland, vistas and modesty of his surroundings provoke a palette that blends personal inspection and romance with an uncommon edginess and singular talent. Invariably, the young maestro will have to accept his music has that mass appeal and, even if he wants to project to niche audiences – those who exclusively like his style of music – the city will be the place to go. I have mentioned Manchester because it is a lot more chilled and ‘friendly’, I guess, than London. It certainly has a reputation for its music and the warmth (sometimes directness) of the people. Not only do the people inspire but there is a huge and buzzing scene here – same goes for London.

I will come back to this point later – in my ready-made role as Ambassador for London and Manchester – but, for now, let me move onto something more touching and bespoke. Yesterday, I was talking about two Australian artists with a great sound. One of them is based in Byron Bay; the other has a P.R. company based on Bondi Beach. The inspiration behind their song, Polar Eyes, is different; their back-stories interesting. Luke Edney, in terms of location, is worlds away but, linking them, it seems childhood is pivotal. When my grandparents all died, they left memories and good times – but few physical things. With Edney, his grandfather left him something precious: an acoustic guitar. Rather sadly, the late relative always hankered to play the instrument but never got around to it. In a way, it is a lesson for us all: do not leave those desires and dreams thirsty and longing – grab them and find a way to make them work. If his grandfather kept this musical secret; at least, by handing the instrument down to his grandson, it meant he would have the chance to fulfil his grandfather’s dream. Although he is not around now; I am sure he would be very proud to see his grandson performing and succeeding. From a child who acquired this old and relatively untouched instrument; to a bold and ambitious musician who evokes embers of Eric Clapton and Hendrix – that is quite a leap and progression. One wonders whether that moment – the grandfather bequeathing his guitar to the bright-eyed youngster – sparked a desire to play music and succeed. Without speaking to Edney; I get the sense he is trying to make his grandfather proud and help achieve his dream. That is touching and charming because so many people get into music for the wrong reasons. This is what I meant when I said Edney has that contradiction of modern and classic. On the one hand, he uses the technologies, pertinences and streaming services of the current climb: against that, an origin and backstory that seems timeless and rare.

Most of the artists I review get into music because they want to emulate their favourite artists and make it big. I know Edney has desires to achieve success and popularity but one suspects his motives are a lot more ethical and familial. Carrying on a legacy and annunciating his grandfather’s dreams – that allayed instrument being put to good use – the young man is coming into music for all the right reasons. Teaching himself at high school age; he met and bonded with like-minded musicians who helped foster his desire for music. Again, in terms of influence, I am impressed seeing Eric Clapton and Jimi Hendrix on the list. They are lofty and world-class idols but not as common as one might imagine. A great many of the acts I review have narrow and of-the-moment heroes. I guess, in a way, the younger generations are forced new music and rely on digital means. They are not burrowing through crates if vinyl and getting excited at a near-mint condition copy of Rumours. Edney, in the way he belies his years, seems to be the kind of fella who has that desire to preserve the memory and brilliance of older artists. Maybe it is me being wistful and nostalgic – a first, looking ahead and my city desires; harking back to my childhood – but I find myself supporting artists who pursue music under the correct moral codes and understand where music came from. Edney, from his school days, progressed to the Academy of Contemporary Music and, whilst it is not a school I go to discover the best new talent, can understand how the educational foundations – and the peers he would have bonded with – have been incredibly important. The issue I have with A.C.M. – not to bash Surrey with little mercy – is the first word: it is a contemporary and modern facility that, in a lot of ways, gears its artists for charts and the mainstream. I see buskers nearby and something inside me sinks.

Aside from the odd standout performer; there is a general banality and commercialism that, one suspects, is being actively instilled into students. From Luke Edney’s perspective, it seems like his tastes and personality has overpowered that temptation to conform and modernise. His music has an of-the-moment flavour but there is so much of himself that has not been neutered and deterred by academic proclivities. I know a lot of artists who go to music schools that learn a lot of useful skills and know how important it has been to Edney. The bare bones and technical nuts and bolts are the best things about music schools/academies. You get a curriculum and insight into the music industry and make some useful contacts. So long as you eschew the urge to become a chart act and play the lowest-common-denominator style of music – buskers who play predictable covers with forgettable and boring performances – then it can be a very influential and useful. That is the case with Edney who has developed a talent for music production and, after getting that education in music; he has put it to good use. Unable to find a vocalist for his as-yet-unrealised band; he stepped alone and began his solo career. Before I come onto my next point, and tying to that debate about the city, I would encourage Edney to balance his solo career with future academic pursuits. When I hear him play and sing, I hear a young man who has the talent to emulate some of his heroes. He seems to be unconcerned with fitting into the mainstream and seeing how many millions of Spotify streams he can notch up. There is an honesty and earnestness that gets into my heart. If he were to relocate to London or Manchester; I wonder whether he would consider taking Music Production courses or something in performance – getting new insight from professionals and strengthening his incredible talent. Maybe he feels he needs to learn and evolve via performing and writing but there would be no dishonesty balancing that with additional teaching and instruction. I will return to that later but, stepping away from P.R./management push, shall come to look at Rock, genres and – to end the section – song subjects.

Let’s look at genres and the issue of Rock. Let me back things up for a second because, going back to Edney’s band days and he did play with Andy Steadman and the Handsome Devils. He lent his guitar skills for two years and assisted the band for a while. He would have learnt a lot from those days but, I feel, the artists he grew up admiring have made more of an impact. Whilst I’ve Been Waiting, Edney’s latest single, puts me more in mind of Paul Weller rather than Jimi Hendrix, there is something in the song that carefully see-saws between accessible and rare. I have said how Edney is trying to avoid being a factory-formed chart act but, hearing the song, it does have the ability to transcend into the mainstream – adding a bit of class and originality without compromising its soul and politics. It is a fantastic song whose origins I will explore soon. The tempo changes and the pace quickens as the song progresses. Whilst one does yearn for an arpeggio or Clapton-esque solo somewhere towards the end; there is a lot in the song that puts me in mind of the legendary Rock gods. The genre has been undergoing a bit of change as of late. I have mentioned how the excitement and flair we used to associate with the genre has been diluted and temporised by a lot of current acts. It seems there are these arena ambitions and, as such, something generic and insipid if creeping into Rock. There are artists who keep the spirit and inventiveness of Rock alive but so many who are not doing enough to preserve and progress the form. Big releases from the likes of Royal Blood have been predictable and basic. It seems Queens of the Stone Age show greater promise but I wonder how much room Rock has to intrigue the masses.

Luke Edney need not worry as, despite the fact I hanker for some Hendrix electricity, is developing his sound and, at the moment, does not remind me too much of anyone else. I am interesting seeing whether he assimilates his idols more acutely and forensically – keeping the core sound but adding flourish, fireworks and Blues riffs into the mix. On his current single, one hears a young man who is mixing sub-genres into Rock to keep it fresh and fertile. In the early phases, one has some Pop and Folk acoustics; it grows into something with a Blues sensibility and laces in some 1970s-inspired Rock motifs. A general energy and drive that augments the song provokes urgency and memorability. I worry about Rock because I feel our current crop do not understand the desperate state it is in. Too many are writing songs that are fit for stadiums and have that huge sound and chunky riffs. That is a much-needed staple but there are few providing anything to push the genre forward. Given Edney’s love of Clapton and Hendrix; his current sound and future desires – there is a lot to get excited about. The survival and success of Rock will be built be artists who have a need to gain success and influence without pandering to the mainstream; add new dynamics to Rock and understand the importance of the small genres. This means having a core of physicality and stun – the hard and heaviness that has the promise of stadiums – but subtlety, variegation and emotion. One of the reasons I was disappointed by Royal Blood’s How Did We Get So Dark? was because it lacked the necessary broadness for an album that arrived three years after a simple and no-thrills debut. To me, acts like Royal Blood are perfect live acts. I am reading a recent review of one of their shows and they are clearly one of the best live acts around. There are few that have the same sort of bombast, electricity and sweat-inducing excitement – considering there is only two of them.

What we need are artists who can inspire from the studio. I will bring in The White Stripes and apply them to Luke Edney. He (Edney) is a solo artist so will not be able to project the same sensibilities and exhilaration as Brighton’s Royal Blood. That said, the compositional and lyrical diversity Detroit’s The White Stripes projected throughout their ten-year recording career (might be longer than that) is worth noting. They, to me, were one of the last true genuinely inspiring Rock acts that pushed the genre forward. Not only did Jack White’s immense shredding help but the fact an album could contain acoustic numbers, savage Blues smack-downs and jiving piano-led stompers. I feel Edney is going to be one of those artists, one hopes has the same sort of variation and allure as The White Stripes. He admits himself that his E.P., Bipolar Love, was a little bit rushed. He wanted to get the recording out and have something in the ether. Modern music is so packed and cut-throat artists are releasing material quickly – so they are at least heard and on the board. It is hard asking time to prepare material because there is that feeling, if you take too long, people will forget you. If you release something quick, the quality might not connect with people – and it can be hard to come back. That is why an act like Royal Blood – taking three years between albums – ran a risk of being forgotten. The fact they are an incredible live act is, perhaps, one of the reasons people were excited to see them back. New, unsigned acts like Edney do not have that luxury. I’ve Been Waiting is a single that has been in Edney’s mind for years and he is relieved to get it out there. It differs from Bipolar Love in terms of its sound. The production is more assured and clear – it is still homemade, I think, but seems less hurried than the E.P.

The first think that strikes me about I’ve Been Waiting is how professional and unexpected it sounds. Bipolar Love, befitting of its title, has quite a ragged and rebellious sound that was a bit underproduced but created a definite buzz and excitement. Here, the production is exceptional and polished. It does not whitewash the music and vocal but it sounds like it could have been cut in a high-end studio (not sure if it was but it sounds gorgeous). The introduction is finger-picked and pastoral but it is Edney’s voice that strikes me. One looks at him and might expect something young, high-pitched and petulant (not a personal slight but many of his peers are a bunch of whiny, whinging arse-bags). Edney, to my delight, has a whiskey-soaked, cigarette-ravaged voice that pitches him between Paul Weller, Paul Carrack and Paul Young. It is that soulful and half-husked hue that reminds me of a cocktail joint. I see Edney in a corner – on a velvet-stitched stool – with a drink in his hand – one imagines he is a regular that goes for something like this. There is almost a suave, crooner-like element to him. One gets view of Frank Sinatra and Ol’ Blue Eyes delighting the crowds. All these sensations come to the fore within seconds of Edney’s tongue clicking. The guitar, at this point, is a backdrop to the urgency and romance in the voice. In fact, there are strands of Country in Edney’s voice. One never gets a sense of charts, modern artists and commercialism: this is a song born from a man who loves his older music and knows the importance of originality. This is a pertinent takeaway as the Surrey man addresses how he has been pining to create and sing new songs. I’ve Been Waiting is the anthem of a man running up the flag and keen for people to feel his presence. There is an “old feeling” that has been brewing and imprisoned inside the heart.

Not wanting to play the same song and repeat himself could, in a way, stem from the rigid and over-defined inflexibility of education – where one has to master certain songs and not allowed to spread their wings too much. Maybe it alludes to his band days and that desire to step out-front. In any case, one hears the young man finding his feet and looking for answers. If one imagines a cocktail bar-dwelling young man drowning his sorrows; to me, there is a romance and yearning that provokes thoughts. In one way, the song is a personal plea and campaign about his musical past and need for credibility and success. In another way, one gets romantic longing and urges. Maybe there is, alongside music, an underlying passion that needs quenching. Maybe that is over-analytical but I get a sensation of Edney balancing music and lust. It seems his heart, gut and soul and entwined in a tangle and unable to extract and liberate. The heart longs for music and chances; the gut seems to hanker for a sense of fulfilment and nourishment; the soul pines for music but there is a romantic side that makes me wonder whether a girl is in the mind. The lyrics are simple and clear but have nuance to them so one can digress and interpret as they wish. The biggest transformation comes when the lyrics and music step up and rise. From musical longing: it seems there is a clear romantic ideal. Maybe it is a way of speaking about music through the prism of relationship lexicon but one assumes there is a person in the mind of the hero. Edney has been patient and it seems, right now, there is someone in his mind that he needs to get. I’ve Been Waiting is defined by pent-up desires and waiting for that right time. If music success and clarity has not been as quick and ready as one would imagine; it seems sexual fulfilment is just as repressed. That might be the wrong word but there is a definite frustration.

I keep getting pulled in by the voice which seems otherworldly and born of a different time. Given he grew up listening to Clapton; I wonder who his vocal role models were. It seems like Americana and Blues were as pivotal as British Rock and modern-day Pop. It is such a rich and exciting concoction that affords the song more emotion, quality and depth than one would imagine. Edney is waiting for that “one fine day” to come back around: capturing something that has been there all along. Maybe that is purely the heart of a girl; perhaps it is the chance to take music by the horns. Whatever the true derivation of those lyrics, they are delivered with such a soothing and comforting burr. Among the banter “way after dark”; there is a young man who has these desires that need to be satisfied. The more the song goes on; the harder I find it to separate the romantic with the musical. There is a need to win a girl, it seems but, more than that, a hankering to step on and get the career roaring. Maybe my mind is divided but that might be the purpose of the song – not being obvious and creating speculation. I’ve Been Waiting goes through stages and has a nice quiet-loud dynamic. From calmer and reflective stirrings to all-out rapture and exclamation – the song goes through the emotions and captures the full spectrum of longing and remembrance. It seems there was a time when he and the heroine made time to waste time; have those laughs and forget about things. Whatever your impression of the lyrics, one cannot deny the individual nature and strength of the song. It shows Luke Edney has developed as a songwriter and, by employ a new Muse and inspiration, has crafted a song that gets one thinking and conspiring. I am fascinated by it and a voice that has needs to be heard by more people. If Edney can transport himself from local gigs and get the music to the cities; that, I think, will make him.

Perusing Edney’s social media, and it seems there is a down-to-earth and charming young man waiting to be discovered. He seems to have that conflicting personality that makes me curious. One can imagine him sitting back and having a few beers; maybe a quick fag (or something more ‘herbal’) and living one’s impressions of a traditional Rock lifestyle. Maybe Surrey is not the most Rock ‘n’ Roll county on the planet – more on that in a second – but Edney does not want to be easily predicted or defined. He has that other side: a serious work ethic and very professional approach to music. There have been teaser clips around I’ve Been Waiting. A lyric video has just been released – I have plumped for the SoundCloud link instead – and, one hopes, maybe another video will arrive. Such is the strength of the song, I wonder whether there is money in his kitty to film something. Maybe he will stay local and shoot something in the wilds and country elements of his home; perhaps he will head into the city and film an after-dark eye-opener. I would urge Edney to rustle some contacts and film a video because the song is worthy of as much exploitation and affection as possible. There have been (and are) local gigs played and lots of chances for the young songwriter to play to the local crowds. I wonder whether I’ve Been Waiting is the gateway drug to an E.P. The alluring cannabis-cum-L.S.D. of his current single opening up to a bag of cocaine, heroin and…not sure why I am going down this route. Dispense with metaphors or uppers, narcotics and Class-A drugs and, in essence, one has a musician who has a lot of chances in front of him. I mentioned, jokingly, there is something of the Ed Sheeran about his looks and promotional photos – a red-headed man carrying an acoustic guitar. In fact, that is where the similarities end. Edney is as far from commercial as you’d get and owes more to his Rock idols – than the likes of Ed Sheeran and the modern mass of beige chart-hungry performers.

Before I bring this down, I will end with music education and the modern game; a little bit about small venues but I shall return to the city, for now. I shall stop bashing Surrey because it seems, for Edney, it is working out alright for him. He got his education here and had some great gigs too. At some point, there will be the desire (one hopes) to cut the music apron-strings and relocate. It takes an hour (by train) to get from Addlestone to London Waterloo which seems convenient but, for someone of his calibre, a short Tube hop would be more beneficial. I see a man who has the desire to play the bigger venues and get his music out to the capital. If he does move to a place like London, Brighton or Manchester, I suggest it is then he will get the attention he warrants. It is vital getting local exposure but the media is not as connected and promulgating as it should be. In fact, a lot of the local media is pretty shite so a review of Edney’s gig is unlikely to make its way far beyond the confines of the country. Word-of-mouth only goes some way and, as many artists know, getting into the city is a direct way of pushing the music to the most influential and trendy crowds. I use the word ‘trendy’ but really I mean young and cool. There are cool people in the Home Counties but there pale into comparison to the large mass of uncool young and the middle-aged. I worry, if artists remain in areas like that, their music starts to conform to the sounds of the local radio stations – something numbing, dull and forgettable. A song like I’ve Been Waiting suggests Luke Edney wants to play the big venues and get his songs played by the likes of BBC Radio 6 Music.

Maybe my profiling is off the mark but any artist who wants to succeed and remain needs to dispense with the worst traits of the Home Counties and embrace the best qualities of the city. In this case, Edney has the looks swagger and talent to make it big but, let’s hope, he does not confine himself to Addlestone and Surrey. It is vital playing near home and getting that experience but musicians cannot realistically survive outside of cities. It might not mean relocating but certainly hitting-up the promoters and venues bosses of London, Brighton (or wherever) is paramount. Maybe Edney is already planning that but, to capitalise on the heat of I’ve Been Waiting; he has a chance to clean up. I can see him fitting into the cafes and coffee shops of London – not the corporate chains but those boutiques and independent chains that exist (a few more in Brighton and Manchester might tempt him there). The way I see things – if Edney is planning to release a new E.P. – Edney could formulate this game-plan. Play gigs around Addlestone, Woking and Surrey; get some reaction from the crowds and see how the locals react to the music. It is like warm-up gigs before a comic takes their show to the Edinburgh Fringe. Once he has played, say, a half-dozen shows; from there, there needs to be a bigger ambition. Edney could get gigs in London and Brighton so that is where I’d suggest. I am in London today and Brighton tomorrow: both cities have incredible venues. Brighton has Green Door Store and Komedia. Wander through The Lanes and the seafront and there are some wonderful cafes and spaces that are waiting for musicians to come in. Given the demographic and people of Brighton – bohemian yet laid-back; vibrant and colourful; a great L.G.B.T.Q. populous – the folk there know great and promising music when they hear it. London, closer to Edney, as I said, has great spaces in every corner. If he contacted a couple of venues in South London (Brixton, Clapham and Wimbledon, let’s say) he will find places to perform – this link might help. He could call it the Compass Points Tour (bit crap but something to work on) and contact venues in the East. Here are some groovy, hyper-cool and beautiful-looking spaces he could play.

Another list might give guidance. Look at the North, West and central and one has options here; here and here. Between this list, and researching other spots, Edney could easily curate a mini-tour of ten venues around the capital. This would get his music to the most prominent labels, people and venues in the U.K. Not only will he catch the ear of radio stations and journalists in London – it will open doors for more regular spots and performances in cities like Manchester (and beyond). I see great London artists switching between slots at coffee shops and those reputable small venues. I will not labour on but it is food for thought. Edney, to me, symbolises someone with a lot of promise. Shots of him with a fag in mouth and a beanie on might suggest someone who is a bit of a slacker but, whether he knows it or not, he has transmogrified from a floppy-haired lad playing local festivals to someone whose jib is cut from the cloth of the city musician. He has coolness and ruggedness that will get women swooning and the fellow bands and lads wanting to have them support him.

I feel there is a big social and friendship network for the Surrey musician in the big cities. London might not be on his mind but, given his sound, it is a good starting point. Those Rock gods – Eric Clapton and Jimi Hendrix – might materialise more overtly in future recordings but I can hear their impact thus far. Edney’s music creates a cocktail of 1960s' and 1970s' Rock with Blues and Folk; modern Pop and Rock with something proprietary and unique. He has a level-headed and hard-working approach which, I know, will pay big very soon. I shall leave this but know there will be many talking about Luke Edney very soon. Maybe he will be tempted to study at one of London’s bigger academies/schools and learn more about his craft. He is an exceptional musician but, concerning guitar and production, courses available that means he can be mentored by professionals and, thus, apply this to his own music. I feel – thrashing this horse to death – Luke Edney, when he steps into the cities, will see his music go from local levels to the bosom of national radio and the biggest venues. It is a brave move but he is a talented songwriter and musician who does not want to remain a secret. I’ve Been Waiting seems, in its title, to define a longing and frustration to get music out there and have his name heard. In terms of where he is going, and concerning success and growth, the young artist will not have to…

WAIT much longer.

_______

Follow Luke Edney

TRACK REVIEW: Laurel Laxxes (ft. Angie Hudson) - Polar Eyes

TRACK REVIEW:

 

Laurel Laxxes (ft. Angie Hudson)

 Polar Eyes

 

9.6/10

 

Cover2.jpg

 Polar Eyes is available at:

https://soundcloud.com/laurellaxxes/polar-eyes-feat-angie-husdon

GENRE:

Electronic

ORIGIN:

Portsmouth, U.K.; Byron Bay, Australia

RELEASE DATE:

May 2017

Produced by Nicholas Cummins and Jack Prest

Mastered by Ben Feggans

_______

ONE has much to ponder in this review so it is…

best we get down to things. I shall come to look at a great new song in Polar Eyes, later, but, for the moment, wanted to raise a few points. The first relates to social media and official websites; moving onto Australia and the great music that is coming from the country. Then, considering Laurel Laxxes, I wanted to look at those who relocate to the U.K.; a glimpse at Australia and the idyllic areas one can create; Electronic songs and a different flavour for summer; collaborations and getting that blend just right – a little bit about consistency and artists taking their first steps. Looking at both artists featured on Polar Eyes and, whilst different, have separate approaches to marketing and their social media feeds. Their fan numbers are different and, whilst not pertinent to the music, are striking and good-looking folk. One would like to see more images of Laurel Laxxes (Nicholas Cummins) as he is a handsome fella but, more than that, provides an insight into their world – what the artist looks like. It might not sound important – and something I raise quite a bit – but I feel there are so many different aspects to consider when it comes to success. Yesterday, I interviewed Lauran Hibberd who is based on the Isle of Wight but is what I am talking about – in terms of the way she brands herself. Her official website – one can check her out in their free time – is perfect. It has all her social media links in one places and is very well-designed. In an age, she said, when people are glued to their iPhones and social media – many do not take the time to tailor their website to those who appreciate the aesthetic and deep. Maybe that is a problem in modern society: we are all too engrossed in technology and assume many do not want to see photos or more detail. Laurel Laxxes is an artist with a fascinating sound/story: having that on an all-purpose official website would be great. Getting a few photo shoots organised – maybe, twenty-or-so shot – would be great and, in many cases, quite affordable. I could slice them into the review and would make it look fuller.

Again, perhaps considering putting videos/biography on that site and telling his story. I know Laurel Laxxes has the benefits of P.R. and has a press release – a professional website would add something and get the social media numbers climbing. At present, he has a modest following on Twitter but is someone who deserves a lot more. The photos I am provided of Laxxes are great but he has a great face and someone who would suit some awesome shoots. Take Angie Hudson, who is a little different. She has her official website (link at the foot of this review) and lots of live shots – some great portraits. The two artists are different but both have their merits. If Laxxes would see rewards from having a site like Hudson’s – and putting more onto his social media – she, in turn, might be envious, to an extent, of his story and bravery – I shall come to that soon. Like I say; it might not seem like a biggie but, having come from interviewing Lauran yesterday and I saw such a treat for the eyes – lots of information, links and details that made the interview so full and beautiful. I feel, in a lot of ways, it can be the difference between a minor and major success – backing that up with terrific music and keeping fans updated. That is another thing one must consider: ensuring you push music and updates to the social media throngs. By informing the punters of going-ons and all the latest happenings; they are likely to stay with you and remain for the long-term. We are in an age when attention-spans are shortened and everyone wants something quick and easy. There is little time to read and go into depth – bad news for me! – but I feel this should change. One is only like that because journalists/artists are fuelling that. I feel we need to get out of this mindset and actually spend more time reading, looking at music closely and becoming involved in artists. Laurel Laxxes, as I said, is a fantastic talent and someone who will go a long way. If he manages to put together a full official website – keeping with the P.R. team/side of things.

I might come back to this in closing but, right now, onto Australia and music coming from there. Nicholas Cummins’ alter ego hails from Australia but he has recently moved to Gosport. I will allude to that but, considering Laxxes and Hudson hails from the great nation; a little exposition about the music from there. I am fascinated by Australia and the music – and the way the country is run. We assume, maybe cliché, Australia is ultra-laid-back and has that very casual approach to life and the arts. If we think about those stereotyped images: we think of the Australian as being very matey and rough-around-the-edges. Knowing Australians, and the reality of the people, I feel there needs to be reappropriation. I know a band from Adelaide and a couple of musicians from Perth; Sydney and Melbourne-based acts and someone from down Hobart-way. Every part of the nation breeds a different personality and style of music. If one is not hooked by the cosmopolitan and fascinating history of Melbourne; one can traverse to Sydney and the beaches and a distinct vibe. Up to, say Perth or Brisbane, and one is greeted with a different sensation/feel. Australia is such a rich and varied country – this is reflected in the music coming out of there. The nation seems to get ignored by the mainstream press here (and the U.S.) to an extent. There is that feeling it is a nation not as productive and quality-laden. That is a falsehood as Melbourne’s GL evokes memories of Blondie in their heydey. They have a bit of Madonna to them and the duo has been impressing critics in the city for a while – expect them to rise and hit it big. DMA’S are three lads from Sydney that evoke sensations of our Britpop period. There is that Oasis-esque swagger and an uplifting sound that needs to come over here and wash away the rain. Basenji is a Sydney synth.-creator who has big sounds and played sold-out shows in the U.S. in 2015. If one wants a colourful collective then look no further than Safia. They hail from Canberra and have hooked up with top Australian artists like Peking Duk and Alison Wonderland. Creators of some seriously fine and nuanced music – another band primed for longevity and success. That is just a cursory peek into bands/acts who are putting Australia in the mindset.

Angie.jpg

I feel the media out there are being a bit lacklustre there and not really doing quite as much as they should. One of my ambitions is to go to Melbourne and, perhaps, work there one day. I wonder how strong the music media is over there. I know there are great journalists but what about the press and website around the city? I have not seen many online rundowns of the best Melbourne artists for a couple of years now – same goes for Sydney and other areas. Talking to Australians and I am made aware how different Melbourne is to Sydney. I plump for the former because of the people (a bit more laid-back and not quite as ‘judgey’, I have been told) and the incredible music. Sydney has that incredible geography and some incredible Indie bands. I find I there are some incredible Soul/Alternative acts in areas like Brisbane and some wonderful artists working around Canberra. It seems strange there are not more options for people like me – wanting to get a handle on all the rich array of acts in the country. Regardless, and the reason I bring this up, is to show how essential that is. Australia is a nation that continues to amaze and impress me. Laurel Laxxes, who I shall come to soon, is someone who has come over here – one wonders whether there are greater opportunities/better support in the U.K. It is something to ponder, in addition to perusing study, moving from somewhere as clement and stunning as Australia – to Portsmouth – is a big shift. I will come to look at aspects around Angie Hudson and where Laurel Laxxes left but, looking at Hudson, she is someone who seems perfectly suited to Australia. Part of a trio – drummer Freyja Hooper and bassist Shaun Johnston – she creates soulful blends that remind one of Sade and Norah Jones. There is a huskiness and sweetness that makes her voice a veritable cocktail of emotions. She performed sold-out shows at Byron Bay Falls Festival and supported Berlin Disco-Pop outfit, Parcels. There was a huge reaction and, as she put together her debut release, a great chance to gauge feedback. That sultry voice and alluring set of lyrics is matched by a musicianship and confidence that is already turning heads. She should be on a ‘Ones to Watch’ list and, let’s hope, the journalists of Australia galvanise and create something for people like me – who wants to get to the heart of music there. I am fascinated by the dynamic and intricacies of cities like Sydney but know Australia is vast and wide-ranging – plenty of other towns and cities have a valid and eclectic music scene.

PHOTO CREDIT: @Yaniclarkephotography

I will definitely expend more thought on this aspect soon but, first, a look at Laurel Laxxes as a case study. As I said; he has moved to the U.K. to study a course in Portsmouth/Gosport. One thinks about that immigration and it shows bravery and boldness. Aside from the fact Portsmouth is about as far from a typical view of Australia as I perceive makes the move sound rather unattractive. That said, there are the chances here to build a career and enrol in a scholarship – which is what Nicholas Cummins is doing. His Laurel Laxxes moniker intends to release material of all flavours in the coming months. Having an educational foundation and new instruction will go into his music – a broader palette and new elements he can bring in. Polar Eyes, as we will see, is a stunning example of where he is but, one suspects, he will drop something (new) very soon. I am excited about Laurel Laxxes because he is a courageous and exciting man. He hails from Bonny Hills and, looking at it, you’d be forgiven were you to be jealous of the jammy sod. It is about half-hour from Port Macquarie – seriously: Google that place! – and a slice of Paradise. I think there is a surf club in Bonny Hills but it is quite modest in terms of amenities and the music scene. Although it is located close to bigger towns; it might seem a bit detached and isolated. I can, therefore, see why a U.K. move is appealing. Being situated in Gosport/Portsmouth; he has an easy jaunt to Southampton but, if tempted, a short train hop to Brighton. London is not too far away so he has some incredible places nearby. That will be useful when he needs to perform and showcase new material. I find it is really brave relocating anywhere but, being so far from home, it needs to work – luckily, the young artist has a game plan that seems very sound.

He wants to learn more and build on his foundations as a producer/writer/performer. He will get a great education here and meet a lot of like-minded people. Not to bang on about the looks of the man – jealous, or what?! – but his music and looks will turn heads. Not that one should equate sexuality and attractiveness to music success but he will fit in very well – popular because of his multiple charms and zeal for music. Now, literally right now, the weather is complete shite but it looks like it MIGHT warm up. I guess we associate Australia as being ever-sunny but, comparing the nations, there is not a huge amount in common. Australia, for a musician, must seem a bit fraught and tricky. I feel there are some wonderful acts there that have fewer opportunities than they would here. Maybe Laurel Laxxes is an artist we will see on our shores for years to come. He would love a life in Brighton or London. Brighton, because of the beach, The Lanes – a colourful shopping street (set of, actually), and the mix of cultures and people. Then London, with its beating heart of terrific music, might tempt him. He would forge a great career here and find plenty of opportunities. He might favour the more relaxed pace of Manchester. It is a city that has a terrific music scene and is reputed as being one of the most appealing areas of the U.K. Regardless of his studies and future aims; he will enjoy it here and would be great if he moved to one of the larger cities. We are always looking for new artists with a fresh dynamic: Laurel Laxxes has this in spades and can inject fresh life into the London Electronic scene that is for sure. Relocating anywhere is always heavy with uncertainty and emotion but it seems Britain is a good fit for the hungry Australian. Laurel Laxxes, whilst here, will be able to collaborate with many artists and have plenty of radio stations willing to play his music.

Switching things to Angie Hudson and, unlike her country-mate Nicholas Cummins, might not have any reason to come to the U.K. She is taking a different approach to music and seems set where she is. In fact, looking at her and the music she puts out, she has a great chance of affecting change in Australia. Not only is she stunning and mesmeric – those Australian genes and the sunny climate – but has one of those unique voices one falls in love with. As a musician, it seems she is set in her trio but keen to fuse her talents with other artists here and there. She perfectly bonds with Laurel Laxxes and is able to step into new genres – an artist who understands what a writer is saying and can assimilate and adapt with so much ease. That chameleon-like quality is a rarity. Let’s hope we get a chance to see Hudson over here as she seems like a young woman with a golden career looming. Mammal Sounds is the P.R. company that brought me to Laurel Laxxes’ attention. I am not sure whether he runs it or is represented by then but, like Angie Hudson, one can be very jealous by reading an address. I review artists from London and, whilst envious they are making great music, can commute to the capital and am very familiar with its diversity and various areas. Reading the address of Mammal Sounds – Beach Road, Bondi Beach – and, in addition to getting plenty of ‘beach’ for your dollar, just KNOW it is going to be perfect. In fact, it is. Not only does one have that legendary beach near-by but so many bright and trendy restaurants and shops. It is a mix of London and Brighton’s best points – the quirkiness and class; a young population and vibrancy – but a young and energetic crowd. Maybe it falls into a cliché view we have of Australia but it seems like a perfect place to work and live.

Bondi Beach, to even visit there, would be a mind-opening and vivid experience that would linger in the mind for years. Not only does one have the endless array of bronzed bodies and white smiles: there is that extraordinary view and access to a part of Australia that provides so many opportunities and wonders. Byron Bay, in New South Wales, is a ninety-minute flight from Bondi Beach but seems like has the same mix of delicacies and treasures. Famed for its surfing and wonderful beaches; there is a three-day festival in the heart of Byron Shire that will draw in the crowds. Once considered countercultural; the area is seeing an influx of big brands looking to merchandise and monetise the festival. It might be media scaremongering but let’s hope the purity and virginity of the festival is not sullied by the leering hands of marketing men – all looking to put their filthy hands down the top of a proud and authentic festival. I digress but, apart from that concern, Angie Hudson seems to be in a part of the world perfectly suited to her needs. I can well imagine where that sultry and chocolate-rich voice comes from. I know there are some great Soul-type artists around the Byron Bay area but it is the way of life there – a more relaxed place and the near-tropical peace of the place – that goes into chilled, sumptuous and incredible music. Perhaps it is the background and geography of Byron Bay that enforced her vocal on Laurel Laxxes’ Polar Eyes. Against the tide of summery bangers one might experience in Sydney and Melbourne: there is a more alluring and seductive vibe around Byron Bay. There is a clash of modern, young and fashionable; the calm, classic and peaceful in Byron Bay. Not only is there that music festival and flow of impassioned and surf-seeking bodies: one has a chance to retreat from the rush and take a stroll surrounded by lush grass and panoramic views. Hudson is one of the most impressive artists in the area and seems to be finding lots of chances to shine. The fact Laurel Laxxes and Angie Hudson are from Australia – but two different areas of the nation – seems to, in a wonderful way, define and explain the song, Polar Eyes.

I am being wordy so shall wrap this section up with a bit about Electronic songs and their profligacy. I am hearing a lot of summer-ready Electronic jams that seem beach-prepared. The sounds are bountiful, sexy and curvaceous. It seems there is that need to aim for those hitting the clubs and flocking to the beach-side bars. Maybe this is the way Electronic music is going. Too many artists instantly go for the jugular. The need to get people sweating, dancing and jumping is not the most effective way of promulgating the form. Sure, it is important to have those anthems and bangers but there is so much richness one can yield from Electronic music. Consider a song like Polar Eyes and its title alone indicates the sort of tones one will experience. There is nothing as glacial and Icelandic as, say, Björk’s Medúlla – but it is closer than you’d imagine. We hear great Electronic/Alternative artists like the xx who are closer in spirit to Laurel Laxxes and Angie Hudson than the club-heading tunes that litter the charts. It seems there is divisionism between the hot and sassy bangers and the chilled and deeper dimensions of Electronic. It is good to have a varied culture but it seems there is little crossover and communion. One either hears the sweat-dripping, tongues-enraptured-and-tied-in-drunken-ecstasy or the more pontificated, cultured and temporised version. Polemic, spectrum-opposite and sharing little common D.N.A. – does there need to be a greater campaign to get these disparate away from a Venn Diagram intersect and more, well, fraternal?! I am a bigger fan of the likes of Polar Eyes because it has its eyes on the summer but does not shout about it. In a way, you can define Electronic music by areas and times of day. There is the Ibiza/Hacienda club vibe that comes out during the day and seems to sport little fatigue when the sun goes down. Then there is the other side which is best suited to Los Angeles or London – when the lights go down and you want something more contemplative and demure. I feel there are very few who add any sort of nuance and emotion into Electronic music. Markets demand sounds that cut to the core and get the people involved but, as we can see with the likes of the xx, a richer vein to be mined when you take the volume down and add more personality/emotion.

This is an area I will touch on later but will end with a bit about Hudson and Laxxes and how they are starting out at the moment. They are two artists that are making their embryonic steps but are two of the more exciting artists I have encountered. Both are bright, passionate and instilled with incredible talent – I am keen to see where they head from here. Laurel Laxxes is in the U.K. and will be releasing new material very soon. I am not sure whether his music will continue along the Electronic route but I am sure there will be new technical and compositional textures approaching. Hudson, still in Australia, has that incredible backdrop and an area that is inspiring her mind and fostering a wonderful young woman. I am excited to see how her new material will sound and whether she will do any more collaborations. I feel the collaborations are too common and there are so many songs that suffer because of it. Every time I peruse a Spotify playlist on a Friday, one is greeted with endless collaborations. It seems new artists, mostly Rap/Urban acts, feel the need to throw needless bodies into the mix. I am not sure why collaborations are so popular and whether anything is genuinely added to the music but I am finding too many songs ruined and overcrowded. A lot of times, it is c cynical move to get streams up and appeal to the marketing side of music – put big names into a song and you get more hits, money and attention. It is a cheap and cynical aspect of music I would like to see less of. If a collaboration is pure of intent and right; that can lead to something magical. That is why Laurel Laxxes and Angie Hudson’s hook-up is perfect. Laxxes had the idea and song already but, when Hudson came along, things changed. In explaining the song; the artist assessed it in these terms:

“I was bored to death of hearing tropical bangers and wanted to write a moodier, more reverb-soaked tune that reflected where I was mentally. The juxtaposition of the faster paced beat against the brooding guitars and synth patches is the end result of the uncertainty and emotional fluctuation I was feeling while writing alone in my studio. I wanted to create something that was both distant and intrusive at the same time”.

PHOTO CREDIT: @freyjahooper

When talking about Hudson’s input and why she was so essential:

“She picked up a moody, pensive vibe from the track and sent me her ideas for the melodies. The lyrics are about viewing a deteriorating relationship between two people from the outside, but also being directly affected by what happens in it at the same time. Being both involved but removed can create a confusing, ethereal feeling which we tried to capture in the performance of the vocals”.

The song, initially was more sonic and conceptual until that arranged marriage of Laurel Laxxes and Angie Hudson. Bringing her take to the song; Hudson was essential getting the song to where it was – her way of life and musical style brilliantly fusing with Laurel Laxxes’ mindset:

“Angie and I decided to name to the song ‘Polar Eyes’ because the song is about viewing a relationship between two people that you care about from the outside. Seeing the contradicting ways they act towards each other and witnessing the positive and negative habits of their behaviour and actions”.

Polar Eyes, aside from its wordplay (‘polarise’); projects arctic tundra and a steely gaze – maybe a commentary on Electronic music or the polar differences and divisions in a relationship. I am buoyed to see two like-minded individuals combine because it is what the collaboration should be about.

PHOTO CREDIT: @_m_n_em_

Eeriness, beauty and intrigue open the song. There is something scratchy – like a vinyl playing – and some punchy beats. That build-up is cinematic and quite intense. One hears whispers and snatches of sounds; like you are in the city after dark and awed by the silence – with a few crackles of light and traffic here and there. The song starts to build and rush as those punctuated and tense beats volumise and intensify. “How does it feel/When you have it all?” asks Hudson. The heroine, maybe speaking about love and the battles in love, asks what it is like when they (he) wins the war. One hears embers of Norah Jones in her voice. You get the same smooth and sensual blend; a rawness underneath it that juxtaposes the tenser and more street-ready ruffle of the beats and electronics. Befitting of the song’s title; it seems there are polar aspects and dynamics that combine with ease. Hudson’s voice is perfect for Laurel Laxxes’ teasing and promising sounds. It is a song that creates curiosity and wonder from the off. That vocal of Hudson’s is soft and playful but has an intensity and direction to it. Maybe she is speaking from experience but it seems like clashes in love are in her mind. The pensive and moody composition could be given a different take and ruined. Maybe a vocalist would come in and make the performance too intense and rushed. Hudson, in the way Portishead can make a song sound dangerous and edgy, creates something malevolent and beautiful at the same time. There is that tease and creep to the voice – the heroine licking her lips and judging the hero – but there is so much passion and velvet to her tones. Perhaps she is watching from the outside and seeing how there is this capriciousness in the relationship.

Polar Eyes is ever-more apt when considering the slight steel and cool breezing from Hudson. She takes her times and projects an elongated and refined vocal. In the back, Laxxes’ production and composition elements project a physicality and dream-like haze. One need only look at Angie Hudson and she has that intoxicating look and demeanour. Someone who would not take any crap in a relationship but has a warmth and allure that is hard to ignore. Bringing all this to the song – and her training in Soul – to produce a stunning and assured performance. Shimmering, contrasting and emotive – a track that builds images and seems more familiar and relatable as time elapses. “Drink your wine” is an instruction that seems born of a sense of weariness and detachment. Maybe, in a relationship, there is a lack of communication and too much routine. Not expressing what we should and being closed-off at times. Whatever the true origin of the song; it is clear the lyrics emanate from a very personal place. Maybe Laurel Laxxes and Angie Hudson have been in relationships where there have been good and bad days. It is easy to judge from the outside but, in a way, it provides fresh perspective. One is not immersed in the thick of it so has a clearer head. To me, I got a window into a love that was going through the motions. Perhaps there are arguments and rough days but there is a lot of love too. I like how the song becomes very impassioned and dramatic. The composition rises and there are so many different colours emerging. There is tip-toeing and doors are being closed. It seems there is secretiveness and indiscretion – maybe not wanting to speak to their lover or hide something. The composition tosses some lighter beats and melting electronics. The textures change colour and the backdrop gets warmer and more varied. Hudson’s voice continues to impress and extract every ounce of emotion one could hope for.

As the song reaches it latter stages; Polar Eyes does not get any less intrigued and stunning. The composition is never flat and insipid – like so many Electronic tracks do – and has so many shades. The beats are tight and bubbling one moment; strident and causal in others. The electronics fizz and then vibrate; there are other elements that create all sorts of images and possibilities. Hudson allows her voice to sway and hover when needed: it gets tighter and more intense when she is in accusatory and defensive mode. It seems like there are secrets being kept. The heroine does not want to be in the thick of things and needs life to change. The bond is too unpredictable and it is causing problems. In all of this, there is sweetness and light. Hudson’s voice rises and shows its full array. One is impressed by its beauty and adaptability. She can be the girl the man wants but, it seems, there is blame on his side. Not fitting into his moulds is important. She is living her life and has ideals of how the relationship should be. Maybe Hudson is purely an outsider who is viewing things with her own perspective. Lyrics that talk of future houses and perceived lives suggest she is involved - maybe speaking from the viewpoint of the song’s heroine. It is interesting listening to the narrative and the kind of ideas expressed. By the end – when the electronics come down and there is that last roll of the dice – one sits back and comes to their own conclusion. Clearly, Polar Eyes is about the clashing personalities and unpredictable nature of love. I wonder how much of their own stories Laurel Laxxes and Angie Hudson brought to the song. One hears a very personal and meaningful performance from each. It is a marvellous and accomplished song from two artists, different in style, are perfect compatriots here.

I will end this now and look back at some points I raised earlier. Sounds of Polar Eyes were sampled from the bedroom of Laurel Laxxes; the song, Polar Eyes, looks at differences in relationships and the ways we look at one another. I am fascinated by the multi-purpose title and what it represented. The ‘Eyes’ part of the title is about us looking and, ‘Polar’, a mix of the cold and diverse. ‘Polarise’, if you compartmentalised and combined, seems to assess the song perfectly: the vast differences in emotions and complexities of a relationship. Regardless of what you take away from the title; the song itself is a stunning and revelatory one from Laurel Laxxes. He is a talent I am keen to follow and he (Nicholas Cummins) is adapting to like in the U.K. His adopted home is going to be a bit of an experience all round. I know, as he is studying right now, his mind will be immersed in discovery and music – if he gets a chance to explore the country, he will find new inspiration and motivation. I have mentioned cities like Manchester and London – both seem like places he could perform and feel very comfortable in. Angie Hudson, thousands of miles away, is in Australia and (is) resplendent and captivating. Her voice and music is sure to turn heads and, let’s hope, she has a chance to come to the U.K. soon. I would be reluctant to move from Byron Bay as it seems like somewhere one could feel relaxed in forever. It has enough opportunities and hotspots to keep her interested and she is close to some of the bigger cities in Australia. I am not sure whether the two will combine their voices in the future but it would be good to see. Hudson has her own releases – Laxxes here and busy studying – so maybe a physical collaboration might not be practical for now. I will end this by looking back at some of the points I raised earlier: Australia and its merits; collaborations and getting that right; making Electronic music more diverse and less commercial.

 

The nation of Australia has always been open to ridicule and close-the-knuckle judgement. We still have that idea of the country as being a little crude and simplistic. This is born from poor perceptions and naivety – a judgement one levies without visiting the nation. Get more involved with the people, history and music and one not only discovers friendly, warm and witty people – the culture there is exceptional. I bemoaned the fact journalists are ignoring their local talent and not pushing it out to the world. There is a stunning and full programme of music in Australia; some terrific artists and a market that is as diverse and stunning as any. I feel Australian music can match it with the U.S. and U.K. Whilst there are mainstream and huge stations in both nations – is this the case with Australia? I hear a lot of Australian music through shows like Neighbours but not as much via radio. It is a shame because there are wonderful bands and artists coming from the country. We hear Australian mainstream artists but not too many unsigned artists. The nation is a wonderful boiling pot for various sounds and genres. I would like to see the national media being more proactive and pushing its finest musicians to the world. Laurel Laxxes and Angie Hudson are two of the finest artists in the country at the moment. I hope both get proper exposure and a chance to get gigs/airplay around the world. Having Laurel Laxxes and Angie Hudson joining forces has been a wonderful realisation. I am not sure how they found one another but I am fascinated hearing them together. It seems like they of one mind when it comes to collaborations. I think a lot of artists toss an array of names into a song and it distills and pollutes a song. It can get very unfocused and one queries whether there is a lot of wasted talent in the mix. The best collaborations are usually between two people/artists and done for the right reasons.

Hearing two different artists blend on Polar Eyes means the song is richer than it might have been – was it a solo venture – but is a great showcase for both artists. I am interested in Laurel Laxxes and what course his career will take – whether he stays here or goes back to Australia. Angie Hudson is forging a promising career and has potential to record and succeed for many years. It seems natural they found one another but it is the fact Hudson brought her own ideas to the song that made it what it is. She, as an outsider, brought a fresh perspective to Polar Eyes. Both brought their personalities into the song and, as such, it is stronger for it. Were it just Laurel Laxxes, it might be crying out for that soulful and feminine vocal. It is a song slightly foreign to Hudson who tends to create music a little more soulful and acoustic. Between them; they have produced a track that adds something genuinely fresh to Electronic music. I feel both were aggravated by the fact Electronic music seems to be defined by thumping, bass-heavy bang. It does not need to be as unsophisticated and direct. Polar Eyes is a track with urgency but it is its coolness and allure that gets to me. Reminding me of the xx, in many ways, one gets something new and refreshing. There is compartmentalisation and divisions in the Electronic genre which seems a shame. Maybe there is too much commercialism and that needs reviewing. Let’s see whether that changes but, for now, I am delighted hearing people like Laurel Laxxes speak out and take action. With Angie Hudson; the duo has crafted a song that speaks volumes and will kick-start a new stage in both their careers. I do hope, when the dust clears, they will…

WORK together again.

_______

Follow Laurel Laxxxes

TRACK REVIEW: Roxanne de Bastion - Heart of Stone  

TRACK REVIEW:

 

Roxanne de Bastion

 Heart of Stone

 

9.3/10

 

 

Heart of Stone is available at:

https://www.youtube.com/watch?v=TgIbPg8JX0g&feature=youtu.be

GENRES:

Singer-Songwriter; Pop; Alternative; Folk

ORIGIN:

London, U.K.; Berlin, Germany

RELEASE DATE:

28th July, 2017

The album, Heirlooms & Hearsay, is available at:

https://open.spotify.com/album/2X5uUMDFi3I73qbxapgwCH

_______

THERE is so much to love and respect…

about Roxanne de Bastion. I will come to look at her track, Heart of Stone, but, before then, aspects relating to the young artist. I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. I shall start by looking at Germany – where de Bastion spent her first few years. It is, I am seeing, a lot of musicians actually immigrate to Berlin. It may seem like London is the most attractive proposition but that is not exclusively the case. A band I am interviewing later this week, Zap!, have found themselves in the German capital. It seems like their way of life and way of working is attractive and alluring. I can understand, given the way the country has been divided here, why many would want to go to another nation. Germany seems a lot more stable – politically, anyway – and capable of speaking for its people without creating a generation divide. We have screwed up every political decision/vote we’ve had and it seems like the ‘majority’ are advocating a detachment from people and other nations. Germany, at the very least, is more pragmatic and less entitled. When nations are divided, it impacts on every sector of society. The music industry here is great but it seems like Berlin is flourishing – and promoting some of the finest bands around. Even though de Bastion lives over here; she began her music course in Berlin and learnt a lot. I want to talk about a few of the bands making waves and the sort of music coming out of the city. I am taking from this article and their choices of the best artists to keep an eye out for.

Roosevelt is one stunning artist who has been progressing over the last year or two:

“His 2013 EP “Elliot” was praised by the international music press, and he toured with Hot Chip, Totally Enormous Extinct Dinosaurs and Crystal Fighters. His self-titled debut full-length, released August 19 on Greco-Roman, the Berlin-London-based label co-founded by Hot Chip’s Joe Goddard, will be accompanied by a world tour with dates in Europe and the United States (many already sold out). Like his label-mates, this record is loaded with instant dance party anthems. Although he was born in 1990, Roosevelt makes music that sounds like a New Wave smash hit: dance-pop with unabashedly big melodic pop hooks, fetching vocals, and memorable sing-along choruses. Trust us: You will hear this record at every house party you go to this year”.

Slow Steve are a quartet that is “Inspired by ’70s science fiction films and the work of Jules Verne, the debut album from French musician Remi Letournelle, formerly of the band Fenster, feels like the vintage soundtrack to an unmade film. Delicately layered psychedelic pop soundscapes, and  vintage analog instruments create otherworldly settings, while the lyrics tell interwoven stories about exploring land, sea and sky”. One of the other acts worth watching (from Berlin) is Laisse-Moi:

“Laisse-Moi, a Berlin-based synth pop trio, was born in a analyst’s office. As a teenager, Manon Heugel grew up as the “girl singer” in “guy’s bands,” but got sick of singing the funk rock fashionable in ‘90s Paris, moved to Berlin, and found work as an actress. But then, in her analyst’s office, she decided she wanted to sing her own songs. She found a German bassist, Christina Riesenweber, and a classically-trained French pianist, Marie Klock, and with a drum machine and vintage analog synthesizers, they formed a synthpop band inspired by German no-wave and ‘80s French pop, narrating stories of Berlin nightlife with a sexy, feminist bent”.

Diät “is comprised of two Australian guys and two German guys playing melodic post-punk that wouldn’t be out of place in the original Manchester scene. Their debut record, “Positive Energy,” co-released last year on Berlin’s Adagio830 and American label Iron Lung, was recorded in the middle of an East Berlin winter, and reflects the relentless dark northern European days when the sun goes down by 4 pm”. ANA ANA is a vital and incredible voice coming from the city right now:

“Now an electropop musician based in Berlin, she creates ambient triphop clearly influenced by artists such as Massive Attack. But her piano remains the distinctive center of her work, calling to mind classic piano-based singer songwriters such as Carole King, Tori Amos and Regina Spektor, while her strong, soulful pop vocals are influenced by American R&B artists (she particularly likes Prince and Aaliyah)”.

It is clear there is a lot of talent and diversity buzzing out of Berlin. I can see why many people are lured there: it is obvious how Roxanne de Bastion has grown and what she took from Germany. Now, she is in London and amalgamating her German experiences with fresh sounds and scents of the British capital. Fascinating to see de Bastion, in essence, having quite a Germanic approach to music – sublimating and fusing that with British tastes and elements. Whether she will remain here and take advantage of the country – or move again further down the line – she is, surely, one of the best artists the city has produced in the last couple of decades. Discovering artists like de Bastion gives us an insight into a nation like Germany and the type of music that is favoured. She will encourage others to investigate the capital and all the terrific music that is being played there. It is clear Germany gets overlooked (compared to the U.S. and U.K.) and warrants a lot more fondness.

Before I go on; a little bit of insight from the musician herself - on her upbringing and connection to music:

"My family has a piano. It has tiny marks on the top right corner, where my Dad used to gnaw at the wood with his baby teeth. Years later, I would play underneath it, while my Dad played his compositions, soaking up the sounds before my hands were large enough to reach a fifth. Our piano is a Blüthner baby-grand from Leipzig and was bought by my great grandfather, Aladar Holzer, in Szeged as a wedding present for his wife to be, Katicza Schwarz, in 1905. I carry her name as my middle name and share her birth year, exactly 100 years later. Their son Stephen de Bastion, then Bastyai von Holzer, learnt to play on this piano and became a professional musician in his early 30s. Shortly after, World War II broke out and, as for countless others, life was derailed, for them and generations to follow. Aladar, Katica and Stephen survived the hardships, but that is a story for another day (or another album). This is about our piano. It too survived; both the nazi and the communist takeover of Hungary and was shipped to England, where it was to live in a council house on the outskirts of Stratford upon Avon. My grandfather did not pursue his music career in the UK. He did, however, keep composing and in the late hours of June 19th 1954, he recorded “The Old Mill”, on a ferrograph. Our piano was given to my father after Stephen passed away. The piano moved back to Berlin in the 1990s, only miles from where it started its journey nearly 100 years earlier. Our collective history, the enigma that is my grandfather and our piano inspired this album. I am so grateful that my father, Richard de Bastion, played it on my song Train Tracks (remotely from Berlin), making this an album featuring three generations of de Bastion musicians. This album is dedicated to Stephen de Bastion"

One of the greatest things about Roxanne de Bastion is her commitment to equal rights and making sure artists are heard. She is on the board of FAC - whose advocacy is as follows:

“The FAC functions as a collective voice, actively promoting transparency and fairness within the industry. Artists possess a persuasive voice in influencing political debates, so the FAC ensures that voice is heard by government and policymakers in the UK, USA and EU.

Within the music industry, the FAC encourages better standards and business practices from record labels, music publishers and other business partners.  The FAC has secured a seat on the board of UK Music, an umbrella organisation that brings together all sides of the music industry.  This ensures the artist voice is heard at the highest level and on an equal footing alongside labels and other stakeholders.

The FAC is also at the heart of umbrella artist organisation IAO (International Artist Organisation) in order to unite artists on an international level”.

The Featured Artists Coalition is a vital movement and one de Bastion immerses herself in. She joined as a Board Director in 2014 and, spoke on a panel (in Berlin) with Travis’ Fran Healy. She is someone who wants the best for her fellow musicians. That is impressive to hear in someone whose hands must be tied up with various commitments, music and personal. I am amazed she finds the time but it is clear how much passion she has for music. In 2014, she conceived, organised and ran the From Me to You (FM2U). It’s a one-day conference that is specifically for independent artists. The panels are moderated to ensure all topics addressed relate to musicians and benefit them – there is no looking at the bottom-line and business interests. It also looks at lucrative technologies and the best ways to aid and develop the music industry. Having travelled around Europe; de Bastion realised a lot of things were being ignored – subject matters raised had little to do with music-making and the real experience of being a musician. She strives to change this and has seen her ventures grow. Few are as proactive and involved as Roxanne de Bastion. Not only is she getting her music right and good: she wants to make certain, when her songs are out there, it is given opportunity, proper exposure and respect.

I am really impressed by de Bastion’s business-minded attitude to music. As much as anything; she wants to make the industry fairer and safer for artists. She is encouraging dialogue and equality – that is something we can all get behind. In my previous review, looking at London’s The Wild Things, I spoke about feminism, sexual equality and how, over the past few weeks especially, there has been a lot of issues surrounding sexism. It seems we, as a people, are not as forward-thinking and modern as we hope. There needs to be real change in music: restructuring how decisions are made and who exerts the most control. The music industry should be a cooperative where the key shareholders are the musicians and listeners. It seems the big decisions are made by men or those who run businesses. They have a very skewed view of how music should run and what constitutes fairness and equality. I will come to this in my conclusion but want to look at de Bastion’s music. I shall touch, briefly, on her album later but I am concerned with the song, Heart of Stone. It has its own story – again, I shall address this – but seems to blend disparate and beautiful sounds into a cohesive whole. I know there are 1960s’ Psychedelia and strangeness in a lot of de Bastion’s work. It is never divisive or two out-there – every element and touch have accessibility and appeal. She ties that with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few try that) with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few do!) and others try Pop and Rock. Getting it right is not always as easy as one might perceive. Creating something original and popular is often the hardest thing – the two do not always have a logical bond. There is that desire for something commercial which often contradicts the quality and innovation of modern music. Sounds that are foreign and unusual are not the most obvious songs that make the mainstream.

PHOTO CREDIT: Chris McCracken

I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. Perhaps de Bastion’s upbringing – a bilingual, highly musical family – was instrumental in her current path. It would be hard to ignore the sounds that would have swirled from the family home. De Bastion herself puts the luscious piano and soaked strings with more conventional and Pop/Folk-minded sounds. I am not sure what de Bastion grew up lionising but I imagine there would have been local sounds and chart acts of the time. She is still a very young woman and is adopting new inspiration with everything she records. It is a bold and impressive approach to music. One would forgive her for reigning things in and replicating her older work: her new album is rife with social commentary and mixed sounds; so many different ideas and expressions run through it. Heart of Stone, as I shall investigate, is a jewel that, once heard, begs you to listen back and unearth its true intricacy and mystery. It is no surprise that, running alongside this wide-ranging musical approach is a startling and singular voice. I have been reading reviews from radio stations and publications who all express the same thing: Roxanne de Bastion’s voice is like nothing you will ever hear. Most of the singers I come across, in one way or the other, are similar to others. Many are gearing themselves for the mainstream and consciously have a very familiar tone – something that has been approved and used to sell millions of records. Those who are unconcerned with that side of things are free to have their own sound and use their voice to truly inspire. That is what one gets from de Bastion. She is a songbird who, according to some high-profile names, is someone you need in your life.

I am not one to argue my betters so have been intrigued by what it is that makes her so special. Perhaps it is that unique background that has led to this stunning concoction. On the one hand, the young artist would have been open to Germanic sounds and artists playing around Berlin. She would get a glimpse into Classic music and Folk. Moving to London, she has had a chance to witness a new nation and a different source for inspiration. There is that bi-nation, bilingual approach to music that extends to her personality and ethos. Here is someone who wants to connect with people and does not believe in entitlement and shutting others out. We are divided by language and balkanised right now. The U.K. wants little to do with Europe: the rest of the continent is bemused and, for no logical reason, there is a rift running through the continent. Not only have the British people made it clear – the majority; not me or many people I know – they would prefer to be isolated; it is galling and a very worrying nationalism. Those, like many of my generation, who want people to join together and fight issues as a united force is finding it hard to have our voices heard. In a way, de Bastion’s singing voice is an instrument that appeals and attracts people from all around the world. It has no graces or demands: a singular delight that shows how universal music is. Why, then, do our people insist on division when they love music so much? Music is an art form that hates separation and hatred. Hearing someone like Roxanne de Bastion sing melts troubles away and shows how silly and frustrating divisions are. There are no easy answers – things will take a long time to settle down – but one should not underestimate the power of music. Roxanne de Bastion is someone who wants to change the world through music and what she is putting out. Not only does she want to make the best music she can: there is a need to have all artists on the same level – making sure each of them gets heard and is not overlooked. That is impressive and commendable from someone who could well easily ignore that and focus on her own sounds.  

I shall come to look at Heart of Stone soon but, before then, a look at the C.V. of Roxanne de Bastion. U.S. artist Lambchop has chosen de Bastion to support them as they tour the U.K. in August. There will be a collection of dates that range from the South Coast to Scotland. On 29th July, she will take to the Cambridge Folk Festival and a great chance to have her music spread to the eager and passionate masses. It is going to be a very busy next couple of months but one that will introduce her music to new supporters. Again, in my last review, I wondered how musicians survive on the profits from streaming services and gigs. The former seems like a risky avenue and one not compensating its artists sufficiently. Touring is the way to make any money – and survive. If small venues are not as stable as they should; getting these festivals and mini-tours are invaluable. Few artists have the same chances as de Bastion but she, as we have seen, is a rare bird that has deserved everything that has come her way. Of course, she will be looking at small venues and spots around the country to subsidise her earnings. Bristol, Glasgow and Manchester are a few of the bigger cities the Berlin-born singer-songwriter will be heading to in the near-future. The fact she has already got big plaudits from stations like BBC Radio 6 Music means there will be a solid fanbase already. I know her social media numbers and growing and she is getting so much recognition and love on Facebook and Twitter. Her eager P.R. drive – assisted by Helen at Folkstock – is getting this remarkable music to stations, new people and nations. I am sure, in the coming years, she will be one of those artists who tours the world endlessly. It seems like an international sojourn would suit her greatly. Whether she is playing back in Berlin or not I am not sure – the following she has here might keep her in the U.K. for a bit.

Before coming to Heart of Stone; its origins intrigue me. The song is about, as its writer explained, about repentance and being born anew. It is about casting off those dark thoughts and washing your hands of blood and dirt. Whether there was a personal moment that inspired the song I am unsure but it is a great and original avenue to explore. What fascinates me about the song is how stunning and mature it sounds. The composition and vocalisation is wondrous and profound. There is something unexpected and mesmeric about the song that seems to suit the lyrical Genesis. That need to cast aside a black soul and not be tied up with dark concerns is reflected in the music. Not many artists are addressing something as universal and necessary through music. So many still get hooked on love and exploiting that for all it is worth. In a way; Heart of Stone could be about love and not being poisoned by a relationship not worth your time. I can extrapolate a lot from that side of things. Unrequited love is always a heartbreaking and harrowing thing so, being madly in love with someone who might be aligned to the wrong man is always painful and upsetting. Not naming names but seeing a friend – whom I have immense feelings for – making questionable choices – or following the unwise part of her heart – means it creates a lot of stress and longing in me. Heart of Stone could easily be about that kind of love: not getting what you want and not letting it consume you. Rather than being obsessed by options and possible ways in - perhaps accepting things might not work the way you’d hope is a healthy and dogmatic realisation. I do not know but songs like this certainly make one think. Songs are designed to inspire and make us richer as people. I am concerned few are taking the trouble to pen something that resonates beyond their own ego and concerns. Roxanne de Bastion is a young woman who has a philosophical approach to music. She writes songs that are designed to help and improve a human. Heart of Stone, her album as well, is full of teachable lessons and wise words. Let’s hope many of her peers follow suit and make music a more diverse and extraordinary place.

Barely a whisper accompanies Roxanne de Bastion as she announces the first words of Heart of Stone. Covered in sand and dirt, in the video, she proclaims how she woke up feeling old. Not knowing what this should be the case; there is a sense of the young artist literally and figuratively feeling age and the years on her shoulders. Maybe that is a comment on the connection to her grandfather. Perhaps there is an element of being burdened by certain issues and struggles. Given we know the song is about washing away negativity; one can see there are some personal concerns that need airing. Knowing what I know about her grandparents – and how she casts her mind back to their realities – it is understandable she would want to rid her body and mind of any bad feelings. In those initial stages, one is entranced by the purity and stillness of the vocal. It is almost child-like in its delicate nature. There is a sense of social acrophobia in the heroine. She does not want to go out and tackle the world around her. Maybe the state of affairs in the world has taken their toll and there is little need to fight it. A bit of defeatism and hopelessness is on her shoulders. With the voices swirling in her head; many could forgive her for shutting away from the crowds and resting. Instead, the doors are being flung open and she is embracing the world. Many might literally interpret the song as a sense of frighten: not facing the perils of the outside but having to swallow any anxieties. To me, I feel there is a personal struggle that is much broader and larger than the world around her. That seems odd – given the size of the planet – but the pains and strains one can carry in their heart. Perhaps there is a lost love or personal relationships that need to be exorcised. It is interesting because the words are broad and personal at the same time. There is no specific event

As the heroine’s body gets stronger and more determined; the composition matches her and heightens.  More elements come into play and one starts to hear the piano become more prominent – other instruments in the mix. The production gets hotter and more lustrous. The vocals, as such, match the surroundings and become more energised. Roxanne de Bastion is not someone who changes her ethics and sound without necessity. Her voice retains that beauty and grace but needs to inject more urgency and rawness when the lyrics call for it. This is not a cynical ploy to awaken the senses: it is a natural progression and evolution of the story. I became more engrossed as the song continued and what it could symbolise. Few artists can hook you in and get into the heart as readily as de Bastion. Heart of Stone is a general song that urges people not to be defeated by the worst instincts and urges. Knowing what I have unearthed about de Bastion; I wonder how many areas the song ventures into. Maybe there is a symbolic aspect in the video – on the ground and face covered in mud/sand. I think about the music industry and how influential that is. Maybe there are little warning signs to those who hide behind desks and masks – not really thinking about the equality and fairness in the music industry; concerned with faulty ways and their own egos. Given her family history; perhaps there are warning to a Europe that is, in many ways, as divided and fraught as it was in 1939. There is a delirious and cherry-lipped charm to the composition and vocal in the song. It bursts into life and has its own charm and personality. One moment, you are stunned by its emotiveness and seriousness: the next, enchanted by its merriness and defiance. The heroine woke up cold and alone; she was dealing with something serious but, in a single moment, decided to change things.

There are so many different notes and ideas that work away in the background. Whilst the heroine is facing the changes of the day and the way she approaches thing – the composition seems to summon alterations in the climate and emotional reflections. Strained strings and swooping notes; tinkle of the piano and percussive notation. There is so much working away but Heart of Stone retains a simplicity and focus. In the video, the heroine draws a chalk picture of a piano – colours burst out of it and it seems to represent the clash of colour and black-and-white emotions. Things are not as simple as they appear (black-and-white) whilst realisation and epiphany can be a colourful realisation. Music is a way of unlocking that freedom but so too is purging things and feelings that bog you down. From feeling sleepy and wanting to retreat; there is this renewed energy and determination to tackle things head-on. That is inspiring for anyone in the same predicament but adds curiosity to the song. I feel like Heart of Stone is more personal and intimate than I first thought. That feeling of coming to – she literally says it in the song – is a real turning-point. Having washed the blood from her hands (whether a symbol of guilt and accusation or literal) there is a chance to improve and embrace happiness. Few songs go through such a transformation in such a short time. One gets the sense the origins of this pain are more complicated than a couple of minutes of music. I assume there was a struggling period and real dark period. The key to unlocking the positivity and hope inside is what we hear in Heart of Stone. There is salvation, ambition and urgency. The song continues its spirited and galloping sound. The percussion and piano entwine and rolls around the floor as the heroine’s voice is at its most expressive and stunning. You are compelled and struck by the power and beauty that remains throughout the song. Heart of Stone is the perfect representation of Roxanne de Bastion and the sort of music she is putting out. Heart of Stone is a brilliant song whose nuances and brilliance will have you coming back for more – keep an eye out for announcements of new music very soon.

Before I revisit some of my earlier points; I want to look at Roxanne de Bastion’s album, Heirlooms & Hearsay. The idea of an heirloom is not something one thinks about and connects it to music. In a way, all of music belongs to every one of us. It is out chattel and inherited bequeathment. The heirloom of music is to be treasured and passed to new generations. The ‘hearsay’ part of the album could be about rumours and toxic gossip – the way that kind of talk is not helpful. Maybe it is about false promises and chasms that exist between the reality of the music industry and the way it is being run. In discussing the album, de Bastion has stated it is about her family and the differences between generations. Not identifying herself as either German or British – not a fan of the notion of a nation state – we are all one of the same and a lot richer than previous generations. De Bastion’s grandparents were caught up in the war and had to evade terrible social poverty and physical harm. It seems, as a more privileged and, in a way, ignorant generation, we forget what life was like in the late-1930s and 1940s. De Bastion’s grandparents made it to the U.K. in 1947 and just as well – if they did not, we might not have had Roxanne de Bastion on the planet. She is thankful she is here and feels this entitlement – the sense we should all get what we want all the time – ties to a sense of class and the modern age. With the Internet controlling our lives – social media ruling many – we seem unable to disconnect from the machine and bond with our fellow man. The U.K. is a wealthy nation but there are huge differences between those in the poorer quarters – compared to the richer in our society. Many who have money and success do not think about those less fortunate and take the time to do anything about it.

As a nation, we are less human and aware of the world around us than ever before. Whether that is because of technology and how buried in it we get – perhaps there are other reasons. In a lot of ways; Roxanne de Bastion’s album addresses that and why we get entangled in negativity and selfishness. Heart of Stone is about washing away negativity before our hearts cement and close off for good. Other tracks on the album ask why we find it logical to think of ourselves and push others away. We do this in our own lives but, as a country, we are showing how singular and stupid we can really be – cutting ties with a continent that has supported us through the decades. Having gone through two World Wars; it seems all that the brave men and women fought for – unification and a solidified continent – is being ripped apart. It shows ingratitude that has inspired a lot of anger in de Bastion. Thinking about her grandfather, especially, and the things he had to go through really lit a spark. Half the album looks at him and the stark realities of his life. The other half looks at now and how the world has changed. It is a fascinating blend that is like a concept, in many ways. It is a history of Europe and how the continent has evolved since the 1940s, especially. In a lot of ways, we have not moved on at all: certainly not learnt any lessons and continue to push others away. Our means are less forceful but the motives are, in a way, more disturbing. There is no issue of national security and world peace: we feel we are better off without our European cousins. I urge people to get the album on Spotify – or go to de Bastion’s official website, too – and listen to a record that teaches and informs. It points at where we have come from and how we need to improve as a group of humans. Recorded with some great musicians; the L.P. has a great live feeling. It makes the songs sound more stark, beautiful and direct. It is the start of things for de Bastion and indication she is an artist who will be a worldwide treasure very soon.

I will close this down but, before then, a kick nod to the subjects I discussed early on. I will come back to Germany in the last moments but want to come back to artists who promote equality and look out for their peers; a bit on clashing decades and sounds – what a truly terrific voice can do. Roxanne de Bastion’s work across music – as an artist and what she does with the Featured Artists Coalition – means she is getting her name and songs out to a lot of people. In a way, her music is stronger because of what she does with F.A.C. She sees, first-hand, the struggles musicians go through and what divisions exist. One can apply this to aspects of the album: the young artist talking about her contemporaries and the bad deal they get. In any case; de Bastion has that empathy and insight into how the music industry truly works. She knows changes need to be made and is aiming to get better rights for musicians. That is commendable but it is a struggle and fight we all need to be a part of. If we want the music industry to grow and survive; it is fundamental and paramount we engage with it and ask questions. It is not the case there is little money available to ensure music’s heritage and foundations are kept solid and visible. The government has a chance to contribute; those who make decisions in music have power and influence – it seems there is a lack of effort and consideration for something as wonderful as the music industry. It would be a crying shame were we to live in an age when our best small venues are extinguished and replaced. Gentrification and changing tastes are seeing venues being closed and replaced with bars and flats. Maybe people are staying in more and it is not possible to ensure the survival of all venues around the country. That is something we might have to face but there are so many other issues and aspects that need addressing – Roxanne de Bastion is a woman who gives her heart and soul to making things fairer, better and more human. She acts as an ambassador and envoy of music – someone who can really make a difference.

Looking and listening to Roxanne de Bastion and I have every faith she will be a star of the future. She is a beautiful and strong woman who concerns herself with the business, morals and sustainability of the music industry. She wants to change national perceptions and eradicate the interconnection Berlin Wall of division that has blighted the landscape. In essence, having descended from grandparents involved in the Second World War; she knows, through them, what life was like for them in the 1940s. It was a hard and modest time that was as synonymous with destruction as it was normality. We do not have the same threat and problems to contend with. I think we ignore and forget how the world was and think, as we are free from war, we should go to the other end of the spectrum and hang on to a privilege only earned through the freedoms and liberties our previous generations fought for. In any case, there are people like Roxanne de Bastion who are ensuring we do not become completely ignorant and naïve. Not only is her passionate speaking voice causing waves: her striking and heavenly singing voice is causing quivers and tremors. I have heard few singers that can startle and silence people. Many are hailing it as one of those truly original and legendary sounds. I have heard it in the context of Heart of Stone and can share that opinion. Not only does the British-based songwriter harness her extraordinary voice: there is a keen passion for various genres and sounds. She is not someone reserved to a genre or mould – like so many of her contemporaries. I know musicians that replicate others in order to find some form of cheap success. For Roxanne de Bastion; she has the fortitude to create her own voice and tackle music her own way. In the short-term she might have to fight harder but, in the long-term, she will reap the rewards.

Roxanne de Bastion grew up in a German household but turned into a woman whilst in our country. That combination of Germanic childhood memories – the music of her parents and local musicians – with the chart and mainstream acts she would have experienced here (and local gems) have combined in a rich and astonishing melting pot. Maybe it is her family and bi-nation exposure but I’d like to think de Bastion was instilled with the curiosity and endeavour from birth. I love how she employs bits of the 1960s and the psychedelic sounds of the time. There are hints of earlier Folk artists and some artists, no doubt she would have heard in Berlin as a child – the bands and acts reserved for that city. Throw in some modern artists in Britain and you have that unique Roxanne de Bastion sound. Coming from a city like Berlin; she would have been inspired by the fantastic artists playing around there at the time. She is away from there now but, even if she has left, the spirit and quality have not dampened. I mentioned a few artists earlier but they are the tip of a sturdy iceberg. Maybe London has the better reputation but Berlin is becoming a natural calling for many musicians. I know artists there who are fascinated by the range of clubs and venues in the city. There are dive bars for Rock bands and those untampered, decaying areas that inspire the heaviest and sweatiest bands. There are great Jazz clubs and plenty of choices for those who want something more sophisticated. Being a cosmopolitan city; there are big arenas and theatres – all manner of spaces for new musicians to cut their teeth and be inspired by. Visit Berlin and you will experience a different people and way of life. More connected and less distant than many here: it is an extraordinary place for art and music. I feel more musicians should take guidance from Berlin and the way things are done there. Maybe the international media is more concerned with British and American music but there are a lot of promising artists that will make their way to international focus. Roxanne de Bastion has taken all the spirit and colour from Berlin and married it to the differences and qualities of Britain. That goes into a musician that has revealed a stunning album – Heirlooms & Hearsay – and the single, Heart of Stone. In fact, the song is part of a double A-side. The Painter is the other part of it, could not have the time to review both, and was co-written with Thom Morecroft. It is a rare co-write and one that just sort of happened – showing de Bastion can work in various situations and create music in different ways. Discover her music and what comes from a rare and special woman. She wants to make real and positive changes in the world of music and has the power to do that. Listen to a song like Heart of Stone and you would have to ask…

PHOTO CREDIT: Helen Meissner

HOW could you possibly ignore her?!

_______

Follow Roxanne de Bastion

TRACK REVIEW: The Wild Things - F.I.A.

TRACK REVIEW:

 

The Wild Things

PHOTO CREDIT: Marcus Maschwitz Photography

F.I.A.

 

9.4/10

 

 F.I.A. is available at:

https://www.youtube.com/watch?v=n3mdk6ht9Ik

GENRE:

Rock

ORIGIN:

London, U.K.

RELEASE DATE:

June 2017

_______

NOW that I have The Wild Things in front of me…

it gives me the chance to have a chat about a few particular things. They are a band who is ready for the challenges puts before them; getting stuck in and ensuring their music is properly decent, original and striking. I will touch more on that soon but, for now, wanted to look at female-fronted bands and the band market (and possible struggles); siblings in bands and friendships; sounds that mix classic Pop and Rock together; professionalism and ensuring you are ahead of the curve – a bit about gigs and steadily building a fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.

Applying this to music and I am seeing the same Whittaker-flavoured prejudice when it comes to female artists. Maybe it is me being modern (and not a nob) but I want to encourage the industry to promote female musicians and get them headlining festivals. It appears they (female artists) are getting fewer opportunities than the boys – often overlooked when it comes to festivals. This extends to studios and music roles. We are seeing more and more women speak out against the imbalance but should men become more involved? There are journalists like me who passionately rebuke my gender: we should be doing better and not living in such a caveman-like age. Yesterday, I was looking at a series of advertising campaigns from the 1950s – BBC had it on their website – that included one for cigarettes where the tagline, effectively, said; if the man blew smoke in her face, she’d follow him anywhere. Another was advertising hoovers: the woman, on Christmas Day, was on the floor, drooling over the instruction manual. Another, saw a woman hanging off a cliff with two men, above her, laughing that, at least she was useful in the home – a couple more perpetuated that stereotype of the woman being in the kitchen and not excelling in a ‘man’s world’. I was shocked that was seen as acceptable back then but, in truth, have we really progressed in the last sixty years?! I see advertising when we drop similar atom-sized clangers: music is still allowing sexist practices and inequality to reign. The Wild Things are a band where their lead, Sydney Rae White, is a successful actor and musician but one wonders how much of the attention will come based on her looks – and whether her band will be overlooked because she is a woman? It is a frightening thought and, let’s hope, she has not encountered too much discrimination thus far. What is the solution when it comes to blatant sexism and these issues?!

PHOTO CREDIT: Marcus Maschwitz Photography

I feel we need to change the current order and decision-making cabinet. It is, by and large, white men who are products of an older generation. I feel, sadly, even Glastonbury’s organisers are still not quite up to the times- the fact none of the headliners this year were women is a sad reflection on their booking policy. Music is an industry where the only judging criteria should be quality. Talent, popularity and ability are all important to consider but it is the merit of a band/artist that needs to be the sole consideration. Whether the solution is easy and quick is to be seen but every day, in different ways, I am seeing sexism rear its head and show how unevolved we are as people. Knowing The Wild Things – and how strident and effective White’s talents are – I know she shares my opinions and will keep on sticking a middle finger up to those who dare to doubt her – simply because of her gender. I know the guys have gigs coming up but I do wonder how many are passing by because of the fact they have a woman in the ranks. This is true of festivals who, when it comes to the band, predominantly, are male-heavy. A current BBC reporter shows there is a gender imbalance in their organisation. It is such a widespread problem and I do think it is as simple as blaming it all on men. There are no legislations and lengthy processes to go through to redress the issue: it is, simply, them not wanting things to change. Music is the only industry – possibly the arts/theatre/film – that has that reputation for love, togetherness and support. If female artists are being let down by the corporate heads and decision-makers; how can we continue to advocate this ethos of equality and affection – without it seeming hollow and ironic? I shall move on from this topic but feel, given the fact I am faced with The Wild Things, it deserved a mention.

PHOTO CREDIT: Marcus Maschwitz Photography

Sydney and Cam, from the band, are siblings which is something that intrigues me. I know bands with siblings – HAIM’s three sisters; Oasis’ duelling brothers among them – but there seem to be very few in the modern age. I am not sure whether Oasis’ ‘reputation’ has led a lot of siblings to forge working that closely together – in case there are irreparable strains on their relationship. With The Wild Things, one hears that close connection and understanding between Cam and Syd. They grew up – thinking back to the time I interviewed them – in quite an interesting household. It is what one would think of when imagining an actor’s household. Playtime would have been more creative, eye-catching and fascinating than most; the sort of people the young Cam and Syd would have seen coming through the door differs to most people – their exposure to music and arts would have been quite prominent and insistent. Perhaps it is the fact they both bonded with the arts at such a tender age they decided to go into a band together. I think of HAIM – more than Oasis – when I talk about the West London quartet. There is a lot of love and friendship in their ranks: solidified and defined by that unbreakable brother-sister bond. Sure, there would have been disagreements and spoils over the years – that is natural when you work so closely with a sibling. It is, I feel, the solidity of their relationship that keeps the band so ambitious and strong – the music instilled with so many positives, joyful moments and incredible highlights. Of course, Rob and Pete – friends of the guys and loyal cohorts – are as crucial in the mix; they are invaluable components in that original and distinct Wild Things sound. It is interesting The Wild Things has siblings in the band; they are female-fronted (or Syd is one of the leads) and are based out of London. The group are in the thick of the British music industry and have potential stumbling blocks at their feet. Not suggesting internal issues and aspects will cause this but, more likely, outside voices.

PHOTO CREDIT: Marcus Maschwitz Photography

One of the reasons The Wild Things are proving so popular and accessible is the fact they blend mainstream-possible Pop and grittier Rock. Their music has a summery, light nature but can pack plenty of punch and energy. It is a vibrant and intriguing mix that, the one moment, can showcase a seductive and near-hushed verse – before climbing to a colourful and vivacious chorus. Alongside the incredible music is the band’s effective and charming love of vinyl and older recording equipment. Look at their official page and one can see, when they promote their new single, vinyl copies of them. Naturally, the band relies heavily on digital forums but one suspect there is a distinct passion for proper music hardware. I am not sure how many copies of F.I.A. will be pressed to vinyl but I hope there will be a fair few at their gigs. I can see the guys selling their music on vinyl, C.D. and cassette – ensuring it connects with older generation and those who prefer their music on traditional formats. I am not surprised there is a nod to vinyl because, thinking of Syd and Cam again, the guys must have grown up listening to legends of music. That can explain their chemical blends and decades-mix music. I feel one of the reasons artists can rise of fall is down to the core sound. Going into music; it can be difficult knowing what the public wants and how to stand out. It is easy to compromise ethics and go for something commercial but I feel that is a path had to turn away from. When you have that kind of ideal and aim in mind: how easy is it to disconnect and go for music more ethical and individual? In terms of The Wild Things; they had that upbringing of great music – the siblings and two boys would have been exposed to wonderful sounds. I feel, as they are in their twenties, they arrived into the world at the right time. They would have had the finest of the 1990s but, one imagines, the benefits of their parents’ record collection – those legendary artists from the 1960s and 1970s. Now, they are taking in modern influence but have incorporated some Rock and Pop from the previous decade.

PHOTO CREDIT: Marcus Maschwitz Photography

It is a wonderful blend that manages to create something nostalgic but forward-thinking. The band is not reliant on anyone else to create their sound but have educated and nourished themselves on fabulous music from the past. Genres like Pop and Rock can be quite vague and hard to define and differentiate. So many artists produce a mesh of Pop and Rock that sounds unfocused, limp and generic. The differing styles of music have potential when mixed but it can be risky. Pop, if you take it back to its best days (The Beatles’ harmonies and classics from the 1960s) and unite that with a dose of 1970s Rock and Indie from the present-day. Sure, there is some great Electro-Pop happening now but nothing as durable and genius as The Beatles. I get a whisper of the Liverpool legends in The Wild Things; Rock rumblings from the 1970s and of-the-minute concoctions of Electro-Pop and mainstream tastes. It is a heady brew that engages the imagination and gets the voice primed and eager. Not only do musical tastes and collated influences enforce The Wild Things’ music: one feels, when looking at someone like Syd, there is a lot of herself in the music. I have been reading her social media feed – always a dangerous thing to do! – and hearing about her ‘exploits’ of late. A couple of weeks back, on a particularly ‘memorable’ day; White had her eBay account hacked; her cat vomited over her flat and, most notably, she was caught in her birthday suit by a window cleaner – who didn’t even down his bucket and squeegee (I realise, as I type this, that sounds like a euphemism if ever there was one!). It might sound like something from a Carry On film but, for White, it projects a certain infectiousness and loveable personality – one can imagine a sitcom about her life (fictionalised to an extent) would make a good BBC series, no?! At the very least you have a young woman who, through risqué escapades and nothing-left-to-the-imagination scenarios, brings that quirkiness and fun into the music. I am not sure whether Cam and the get caught in any similar predicaments but one can sense a consensus of fun and frivolity in The Wild Things. Consequently, that D.N.A. goes into the music and differentiates them from the competition.

I shall move on from eBay fraud, Sydney Rae White and the bold-faced window cleaner – she’ll be relieved to hear! – and look at the London band’s professionalism and work effort. Look at their official website and one is greeted with a colourful and striking image of the guys. It is moody and sexy; it is eye-opening and memorable. Look at their social media feeds and you get regular updates and insights into the band. One of my biggest gripes – one that continues to grate the testicles severely – is the fact I get approached by so many people (P.R. companies among them) asking me to interview/review their acts. That is exciting and can lead me to some great discoveries. Even if the music is THAT good, in order to flesh out my pieces; I require a certain number of photos to accompany it. That is not unreasonable but one would think, looking at some artists, the camera had just been invented. If one had to wait for someone to stick their head under a cloth (as the old cameras had) and freeze in position for several weeks – that would put people off taking too many snaps. We are as far from that as humanly possible. People, these days, photo things that go in and out of them; every asinine afterthought and mind-numbing possibility. The fact so many musicians are not putting an adequate number of photos online is something that can risk a career. Fortunately; The Wild Things have an array of gig snaps and portraits that keep people like me happy. It is not only impressive because it suits my ego: it shows the band is serious and wants people to include their music on their pages. The bigger publications are going to be more impressed if they see professional shots and a lot of information. There is no point being enigmatic and piecemeal when considering images and details. This considered and fulsome approach to music extends to their interviews and music. I have alluded to the variegated and fascinating sounds one hears: the band is keen to promote and share their interviews and speak to as many journalists/sites as they can.

PHOTO CREDIT: Marcus Maschwitz Photography

The Wild Things have a gig at The Lexington on the first of next month but one suspects, when things start to hot up, they are going to be pounding the gig scene rather hard. I am trying to book them for a thing I have coming up later in the year. Their live shows are terrific and have gathered impassioned reviews. It is clear they are meant to be in music and have a real bond with the audiences they perform to. Not only is the London band ahead of the game in terms of their sound and social media: they are one of the most reliable and exciting live forces in the U.K. Maybe it is not a shock as The Wild Things have acting blood in their midst. In fact, one can draw a line through each member and see a varied performance C.V. Sydney Raw White, more so than the three chaps, is a prominent and up-and-coming actor. Many of us saw her in the hit BBC comedy, Uncle. It is being shown at the moment but, sadly, wrapped for good earlier in the year. It would have been an emotional time for White but a happy and happy experience on the show. She got a chance to perform with some wonderful comic actors and open the door to other comedy/drama shows. I feel White (and her sibling, especially) bring acting and that discipline into their music. One need only look at their latest music video – where Cam ‘suffers’ for his art, to extent – to know how closely connected acting and music are. I am not saying musicians who do not have acting backgrounds are less effective live performers but one knows The Wild Things have a definite edge. Their histrionic range and performance talents go into live shows that ensure every song they play gets into the head. The videos they produce, on a fairly small budget, are always terrific and original. I will touch more on that but it seems the gang will see themselves privy to some rather illustrative gigs in the coming months. Proving how effective and compelling they are on the stage: how long until the West London four-piece are receiving nationwide/international requests? It cannot be too long, that is for sure!

PHOTO CREDIT: @marcusmaschwitz

Before coming to F.I.A. and why it is a song you need to get involved with; I want to take the mood down a little and talk about bands. Yesterday, when speaking with a website designer friend in Canary Wharf - the jammy bugger works in One Canada Square and has one of the best views of London imaginable! – he was talking about bands and how hard it can be to break them. He, in addition to designing websites, manages a few acts – including the wonderful XY&O. The boys have played Glastonbury but, despite the expensive P.R. campaigns and endless work, they are not where they should be in music. Some P.R. campaigns can cost a grand. A manager/band can put their latest song/album to a P.R. company who will, on their behalf, contact people like me and get as many sites/journalists talking about it. One hopes, with that attack-on-all-fronts approach to promotion, more and more people will get acquainted with the artist. That is true but, one of the biggest drawbacks for a band, is when it comes to monetising their music. Me and Alex (the guy I was speaking with) bemoaned the fact our music passions were not generated as much money as they should – mine generates zilch, in reality. The Wild Things rely on gigs and the revenue they can generate from that source in order to produce new music/videos. Sure, people like Syd have their acting but, considering she pays rent and needs to survive in London; how much of that pay cheque goes into her music? One suspects the band, like many other, have quite tight and troublesome profit-and-loss sheets. The sheer passion they have for music mitigates a lot of the financial pressure but bands are not being compensated and safeguarded enough. Speaking with Alex; we chatted about streaming services like Spotify and the true ‘profit’ associated with these services.

PHOTO CREDIT: Marcus Maschwitz Photography

The reason some artists get success on Spotify is that they are part of playlists which generate millions of streams. For most artists, they have to rely on more modest numbers. The money they are paid for each stream is so meagre; one cannot make any decent money from this source. A recent article from The Guardian laid out the facts when it comes to our smaller venues:

“A dearth of live music venues threatens the UK’s talent pipeline, according to those in the music industry. “Live venues are one of the few places where a new band can actually make a living, and the big problem is that the money which used to be there from recorded music has all but dried up,” Pink Floyd’s drummer Nick Mason said recently. “It’s really important we try to keep open these places where young bands can play and work.” The venues had believed that their pleas for support were being heard. The former culture minister, Ed Vaizey, said in 2015: “A vibrant music venue which is breaking new acts has just as much right to be considered a cultural venue as a local or regional theatre.”

“A lot of our venues don’t just put on pop music,” (Beverley) Whitrick said. “They will also put on jazz and folk, some put on theatre, and most put on comedy. A lot of the stuff they host, they know they are going to lose money on.”

Darren Henley, the ACE chief executive, said it had strived to ensure the new funding allocation was diverse and inclusive. “We are funding some incredible music organisations as part of the portfolio for the first time, including Readipop in Reading, contemporary music promoter Capsule in Birmingham, Loud in Libraries, NTS Live and Sound City in Liverpool. We also fund contemporary music through our other funding streams – for example, we’ve just announced that we’re funding Boiler Room’s coverage of this year’s Notting Hill carnival through our Ambition for Excellence programme.”

This, alongside the paucity Spotify pays artists for having their music streamed, is creating a real fear among bands. Solo artists/duos are in the same position but it seems bands are being hit hardest. I wrote a piece a few days ago wondering why so few of the best mainstream albums from the last year or two were created by groups. Maybe it is harder for them to perform and monetise their music: that, in turn, means they have less money for creating music and have to compromise in a lot of ways. I am not sure this is the complete truth but there is something in it – money is such a pivotal reason why so many musicians are not producing their best material. For The Wild Things; they are one of those hard-working bands who have to take jobs to fund their music and, one hopes, will not suffer because of the venue issues. I would love to see them become one of the biggest bands in the country – no reason why they cannot – but worry there is an alarming trend unfolding before our eyes. Aside from sexism and imbalances – I shall return to this a bit later – so many facets of music are suffering and being let down. Not only will many great venues close – well before new funding talks in 2020 – but bigger spaces too. These spots are crucial for every band when it comes to getting their music to the people. If they cannot rely on the gig fees and merchandise profit they receive from venues: are streaming sites an attractive and effective alternative? It seems not as we are reading tales of artists not being remunerated from Spotify; the fact modern music is not as profitable and compensated as it should be. Whether the government should be doing more and subsidising venues – so they do not face closure – is hard to say but more needs to be done in general. The likes of The Wild Things rely on the small venues to get them into the public consciousness – take them away and it will be so much harder for them to prosper. Now that I have depressed everyone, I better move on. I have been a bit Grim Reaper in the last section but, listen to F.I.A. and I am in no doubt The Wild Things will succeed and reign on the strength of their music alone.

PHOTO CREDIT: Marcus Maschwitz Photography

The band’s aim, Syd especially, is to enslave the human race. Not in a Donald Trump manner but something more melodic and loving. The band’s mingling of sweet harmonies and ball-kicking Rock is enough to get the human race buckled to its knees. Anyone expecting a slight and ineffective enslavement is in for a shock listening to F.I.A. I approve of the opening moments of the song’s music video as it castrates and villainises a few public figures – those who are making the world a worse place. Piers Morgan – one of the slimiest reptiles in the pond – is given Devil horns. President Trump has some of his ‘wise’ sound-snips comicalised and mocked – an epic buffoon who, with his sexism and vile agendas apparent, is being seen as a bit of a joke. It is worrying with have people like Morgan and Trump in the world – especially in such high and prominent positions. The video starts with the first chapter: The Sleazeball. In the video, Cam plays a version of the boss in the U.S. version of The Office – Syd is at a computer; subjected to his ‘management’ style. He is a bit of a sleaze and it is this narrative that perfectly supports the lyrics. Syd’s voice is firm and intent as she reveals, about a subject or general figure, who has certain revelations in the public. In fact, wind back, there is tussle as to whether there is accusation towards the perverse and ill-informed – those idiots like Trump and Morgan – or more a personal perspective. White, as the song’s heroine, has this lighthouse-like beacon guiding the way. It seems she is falling and struggling to come to terms with something. Whether there are ambitions not being achieved – her as the office drone; vulnerable to groping and unwanted advances – might represent a stagnation and frustration. She, as a woman, is playing second-fiddle to leaders/managers that perpetrate negative ideals and are, well, rather crude. Why should she, as the dignified and pure, have to suffer this?! Maybe the song looks back at her previous work experience: perhaps it is a commentary on sexism in society or the way men seem to make more of the decisions.

Whatever the interpretations; one is hooked by the video and music. The former has that low-budget charm and humour chapters – Syd and Cam showing their acting chops and presenting a tableau that is going to familiar to many. The song is a typically boisterous and spirited number from the London band. Syd’s voice is as strong and set as ever: the way she can blend the luscious and cherry-ripe with something spiked and kicking is impressive. She has one of the nimblest and strongest voices in new music and demonstrates it here. The guys help to whip up stomping percussion, liquidy bass and stirring guitars – they whip up a storm and provide one of their tightest performances to date. White, as the ill-fated heroine, wonders why she has to be in the position she’s in. The song’s title – the acronym stands for F*ck It All – is her exasperation at the way things are going. The song’s video projects sexist subtitles – Cam, as the boss, belittling Syd and saying, even though she is not a man, if she works hard she can make it happen – and some rather creepy images (not Cam massaging his sister’s shoulders but that all-too-common workplace ill). I get a sense of Syd speaking for many people in society – not necessarily women. It seems, even if you do have ambitions and good intentions, you can be let down by people. As a musician and actor; she must have faced closed doors because she is a woman. The video for F.I.A. certainly highlights a sexism that we should eradicate. There is this assumption things will be okay – telling her parents it will be okay – but there is tension and rage building under the surface. This is visualised by the song’s video which, rather wonderfully, sees the put-upon heroine take action. Her boss’ too-near-the-ear leering and patronising sexism is too much for the heroine to take. She screams and, as we transform from the office into a multi-coloured-disco-floor-cum-battleground; things intensify. Syd wields a sword – her boss looking concerned for his life – and she has taken more than enough! Coinciding with the next chapter (The Criminal); we see the fall from grace of the heroine.

The song’s lyrics might not be as extreme as the visual arc – the oppressed killer having to escape and evade punishment – but there is a tangible sense of relief and release. This is exemplified by the song’s explosion and passionate burst. The guitars, drum and bass volumise and create a wonderfully boulder-like and fiery sound. Everything gets hotter, suffocated and exhilarating. The band, every one of them, shows their instrumental chops – how they can switch from the summery, harmony-rich calm to full-out Rock jabs without much of a breath. It shows how confident and assured the band is. They can switch one-eighty and make it sound natural and expected. As the third chapter, The Stalker, comes in; it becomes clear there is a combination of the personal and observational. Syd has been around those pervy bosses and types that demean women. Then, she looked at those who strike out and damage the world; stalker, who harass women, are those we need to take to task. Whether there is a personal exclamation – fed up with these people getting away with it and affecting women so severely – or a need for society to clean up, it is interesting to examine. It is clear the heroine is not one to take these issues lying down. In the video, she strikes a man who tries to mug a woman. Then, she tackles a stalker and asks who is running the show – The Big Boss is the final villain that needs slaying. The humorous and comic book approach to video-making is a nice companion to a song that addresses something rather serious. The band takes the song through suites and stages. Syd yelps and spits; she has passionate segments and ensures each part of F.I.A. has its own personality. The band is level to the task and, as such, infuses the composition with different sides and flavours. It is one of the finest, if not the best, songs from the band and one of the most complete. There is a definite sense women/sisters can overcome the worst side of man – something that needs to happen (perhaps a little less violently than in the video!). Whatever your take away from the song; it is a huge and anthemic song from the London band and proof they deserve a lot more oxygen and success. Let’s hope that does not take too long to happen!

PHOTO CREDIT: Marcus Maschwitz Photography

Many of us experienced quite a storm last night – you’d think it was the rapture, the way people are going on – and have been thankful it is a lot calmer this morning. In any case, that storm cleared the air and will take the heat down a little. If that meteorological sensation has, after some turbulence, created something positive; one wonders, applying that to music, whether that is the way to broach issues we are facing (pardon my rather clumsy metaphors and linking ‘powers’). In all seriousness; I, as much as anyone, was aggrieved seeing the online disagreements when Jodie Whittaker was announced as the new Doctor. We are seeing more and more sexism make its way into society – this seems rather baffling in 2017. I feel people are not as evolved as they should be: hanging onto horrible and vile ideas of past decades and thinking that is okay. At the very least, there is a stubbornness and unwilling to adopt anything new and progressive. This can be applied to music in a lot of ways. From the mixing desks and studios; to the festivals and looking at the charts themselves – women are subject to discrimination and this has to stop. A lot of charts acts are still promoted based on their looks: sexuality a big ticket for the girls but not as much for the men. How can we logically rationalise this approach and not take action?! The older boys are calling the shots and, until this order is replaced, we are not going to move on in any meaningful way. Sydney Rae White is the lead of The Wild Things and not someone who pays sexist men any quarter. One imagines she would have experienced sexism and, compared to her male peers, not provided the same sort of respect and focus. For the London-based band; their music shouts in the faces of anyone who dares to overlook them. I have mentioned – and shall not elucidate and return to the well – some of Sydney Rae White’s unfortunate happenings a couple of weeks ago. She, to me, is one of those charming and real people we need to see more of. Having a close bond with her brother, Cam, and friends Rob and Pete; the guys are one of the most together and effective bands I have heard.

PHOTO CREDIT: Marcus Maschwitz Photography

I look at a lot of bands and feel they lack anything unique and interesting. Maybe their music has some pluses but, looking at the members, and they are rather indistinguishable and bland. That is not the case with Londoners The Wild Things whose individual personalities and stories makes the listener take notice and dig further. The Whites’ acting background - Syd involved in Uncle and other projects – gives one an idea of what their childhood was like. I think they had quite a creative and illuminating space as children: engrossed in the best arts and music of the time; living in a part of the country where they would have been exposed to so many different people, tastes and cultures. I am not sure how Rob and Pete found Syd and Cam but, one suspects, there was a solid friendship from way back. I talked about siblings in bands and how it can lead to mixed results. One will not hear any Gallagher-esque spats and wars between Cam and Syd. They have that tight and loving relationship that makes the music so solid and natural. The entire group has a tight-knit dynamic and that leads to some wonderful music. Like current favourites Methyl Ethel – the latest album from the Australian band, Everything Is Forgotten, is one of the year’s best – one gets some wonderfully rich and summery Pop; echoes of Rock and concrete – music that would sound epic in the live environment. I shall bring things to a close but want to return, very briefly, to professionalism and the gig profitability for modern bands. I have outlined, via The Guardian, how vulnerable the fabric of live music is in the U.K. The Wild Things, of course, are eager to get their music out there and generate funds from tickets/merchandise. If digital streaming services provided a comforting fall-back for bands, that would appease a lot of the stress we are seeing – the sad fact it is exacerbating pressure and insufficiently paying artists who appear on the site.

Those grassroots venues are, as always, an invaluable rite-of-passage that needs proper conservation. The Wild Things are a brilliant live act who is placed in the busiest music city in the U.K. They will want to have full access to the spectrum of venues around London. If, as has been hinted, many spots will close in the next couple of years; what does that mean for their future?! Their music is righteous and bodacious for sure, I get you, but it can only get its voice heard if they can bring the music to the people. Streaming services get the songs into the ether but gigging has always been the effective way of spreading the word. We need to accost the government and open their eyes to the denigration and depletion of the live music scene. I shall not bum the guys out too much as, and I shall end on this point, they have a bright future. I am not sure whether they have plans for an album but I know the guys have an impressive body of work behind them. Surely, new ideas are percolating and one imagines they are brewing something – whether an E.P. or another single. The vibe and chatter augments; there is demand for their music – how will this drive the band and what form will their ambitious take? I feel they have an E.P. inside them and feel a summer-released four-track, for example, would be a savvy move. In that same spirit, they will be looking for gigs and know there are venues that would house them – an E.P. to show promoters and venue bosses would go a long way. The reason the band are making strides is their professional approach to music. They get images of themselves out there and producing stunning songs like F.I.A. Their hard-working and versatile approach to music is going to take them a long way. I have no doubt the London quartet are going to be headlining stages in years to come so it is good you keep your eyes peeled and ready. F.I.A. is a typical slice of brilliance that shows The Wild Things…

ARE here to stay.

_______

Follow The Wild Things

TRACK REVIEW: Sasha Brown - Parallel  

TRACK REVIEW:

 

Sasha Brown 

 

PHOTO CREDIT: @nastassjathompson  

Parallel

 

9.5/10

 

 Parallel is available at:

https://soundcloud.com/sashabrownmusicofficial/parallel

GENRES:

Alternative; Electro; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th July, 2017

WRITERS:

Sasha Brown, Joe Kearns and Jason Elliot

_______

AFTER a brief excursion to New York…

PHOTO CREDIT: Anne Laymond (1883 Magazine)

and an investigation of Josh Michaels – I am faced with a homegrown talent who is already making an impact with her single, Parallel. I shall come to look at that – and Sasha Brown, no less – in a minute but, before the, and bearing her in mind, I wanted to look at a few things. I will talk about multi-talented artists and their scarcity; the capital and how I feel more bonded to the people and its music; those who have radio experience and can bring that to music; songs that look at relationships in a different way; those musicians tackling Pop and adding something new to it – female artists who are working hard and deserve exposure. I shall also look at social media and promotion but, before then, I want to look at artists who have a lot of skill and ability up their sleeves. With Sasha Brown, one gets an excellent songwriter and singer but there she is a musician too. A lot of today’s artists rely on other people to write for them and perform every part of their song. What you are left with is the voice and, sadly, good looks – marketed and exploited to the hilt. Sasha Brown, sure, is striking and beautiful but is someone who will never fall into the trap many of her Pop peers do – exploring beauty and sexuality for views, sales and success. Brown is a strong and defiant artist whose original and personal songwriting is doing all the talking. She is a saxophonist and, one feels, has a compositional curiosity that could not only see her learn new instruments – she had the knowledge and ability to add more elements to her music and explore new genres and possibilities. Whether we will be getting a horn-rich Jazz-Rock song – in the manner of early-days Steely Dan – or a sassy Beyoncé-style floor-filler in the next few months, I am not too sure.

Parallel benefits from a young woman who has an affinity and understanding of music that is not as prevalent as one might imagine. I look about the mainstream/new music and I see divisions. On the one hand, I look at the Pop/Soul/Alternative market in the underground and I am pleased to report hysterical talent and promise. Yeah, there are a few artists who need a swift kick up the arse by, for the most part, I am seeing so much talent flow through. Artists taking care of their music and imposing personality, control and direction – with an eye for instrumentation, nuance and mobility. In the mainstream, there seems to be less of that occurring. I know that word gets a bad-rap but, as we know, there are mainstream artists who have created some exceptional music this year. From Lorde and Charli XCX through to Sampha, Lucy Rose and the xx – some of this year’s best albums. The mainstream Pop demographic has a political and ideological division that is making it confusing and challenging for unsigned artists. You have those who are in the big leagues and deserve to be: writing their songs and performing music of the highest order. There is that rancorous and fetid collective of Pop performers who are processed-to-crap and have an army of writers dictating, controlling and directing. I shall not name anyone but we all know those pout-to-the-camera, dime-a-dozen artists who are produce anodyne, generic and insipid Pop. I will touch more on that later but what galls me about those artists is the lack of ability and talent. They hardly expend any effort creating any music/lyrics themselves and, often, sit back and watch a team create their music. When they get to the stage/forefront; one sees a rather faceless and dead-eyed artist churning out by-the-numbers songs. It is a depressing thing to see but a commercialism that has existed for decades. It is more pronounced in a digital age: there are more artists than ever and, I am afraid, that pre-teen/’tween’ market lusts after music with little depth or build-up – something instant, easy and uncomplicated. Maybe I am being too black-and-white and simplistic but I am always plump for musicians like Sasha Brown. She has the ability and hunger to carve up her own empire in music – a rational and genuine artist who wants to bring the public music that will endure for years to come.

I am envious of Brown because, in my view, she has a life I idealise hugely. I can imagine her apartment/flat would be quite Hoxton-modern: minimalist and modern with white-painted chairs and flower-boxes on the windows – a great view of a charming part of London with, perhaps, a cat scurrying around the kitchen now and then. Maybe that is a romantic vision that does not exist but I know two musicians who recently rented a stunning place in London – I can imagine their life is like that. Maybe Brown’s living arrangements are different but, in terms of her success, job and situation – this is something I am jealous of. Every time we hear something horrible hit the capital, I feel more bonded and united to its people. We have endured terrorist attacks and Grenfell; acid atrocities and some near-misses. From small-scale events to apalling loss of life – London has a resilience and togetherness that sets an example to the rest of the world. Sure, there are problems in the city – the immodest rent prices and fact the people are more sane and sensible than the rest of the U.K. – but there is so much on offer for the ambitious, young and curious. Brown is in a city that seems perfect for her. I will talk about her radio career soon but it is not only the landscape and people that will compel and motivate her – there are so many great musicians so close by. From upcoming Urban talent like Loyle Carner and Dave; scuzzy bands such as Goat Girl; Pop duos like MissDefiant. That is only touching the surface because, in terms of those new musicians, a lot of it is not being represented. I look online for those ‘London Artists to Watch’ and have to stick together bits from various sites.

The perfect thing about London is its links to the rest of the world. Brown is part of a city that attracts artists from around Britain and the world. I see a lot of American acts coming here. The fact we have so many great venues means a wealth of fantastic and interesting artists are hitting London. In terms of music cultures; I feel London and Manchester have the best acts, labels and venues in the country. London is a unified city but has its compartments and sectors. The flavour of music in the East of the city differs from, say, Brixton or Westminster. There is no such thing as a ‘London sound’ which means getting a handle on it will be tough. I hope the media does collate a genuine list of the best artists in London as, what I am seeing, is bastadisation and gerund assessments of great acts – we need a rundown that breaks artists into genres, location and age. A, theoretically, London Music Directory could give a map of the capital and put all the artists on there. If one wanted to find all the great Indie bands in Hackney, they could. If you need to know the best Pop acts from Greenwich then that would be possible. It sounds complicated but the reason I highlight this is because Sasha Brown is an artist who deserves a lot of acclaim. If one, anywhere in the world, could discover her music – in the context of London – then that would open more doors. In any case; I am fascinated by the banquet of London music and how inspiring it is. Every time the city comes under attack; it seems to have an opposite effect: people come through and join; many want to live here and do not care about any dangers. There has always been that vibrant and opportunity-laden music scene that is seeing acts like Brown conspire and dream. Parallel is a song born from a personal space but, one feels, born from the beat of the London streets.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I have already proclaimed my passion for Sasha Brown but the reasons extend beyond her music and personality. In terms of what she does; it seems like she is in a really cool place. If one is unfamiliar with Hoxton Radio – they explain themselves thus:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

I am not sure what their recruitment policy is at the moment but, God help me, it seems like a Paradise for an ambitious presenter/D.J. In my mind, my perfect situation in life would be working for BBC Radio 6 Music – as a producer or music news presenter – and living somewhere like Hoxton or Hackney. I would be able to do the dream job and, in the evenings, drink in the multicoloured carnival of the London nightlife – a casual cocktail down at Nightjar or a more vivid rooftop night at Queen of Hoxton. Hoxton Radio seems like a station one would be pretty comfortable in. They present fashion broadcasts and talk about culture; focused on interviewing and promoting new musicians – always keeping one eye on classic music and the best artists from the past. Yes, it is ultra-cool and youthful but has a vibe and quality that is hard to ignore. I shall step away from my ‘subtle’ bits at a proxy job interview but know Sasha Brown is one of the most important and talented additions to the roster.

PHOTO CREDIT: @nastassjathompson @zarakaplanmakeup

She, not only, is surrounded by some great people in a stunning location – Spitalfields is right there: right in the beating heart of London’s fashionable quarters – but has that ever-vital work experience. She takes to the airwaves and, not only gets to hear, first-hand, the freshest artists in the capital – Brown has that knowledge of promotion, interviewing and ‘selling’. She helps boast other artists and has a front-row seat in terms of P.R. and exposure. Not that Hoxton Radio allows her the chance to big-up her own music relentlessly – more is the shame but one must have an ethos and discretion – but few musicians have such a knowledge of the inner-workings of music and what stations like Hoxton Radio are all about. It might be small compared to, say, BBC Radio 6 Music but it is one of the finest radio stations in London. The blend of music played and features mean it appeals to a broad demographic: its market-share extends beyond the Über-Hip stalls of the market and its patrons. I hope Brown remains at the station because, looking at her social media feed, she is travling the world and interviewing great artists. If she is able to balance the encroaching and increasing demands of a music career with the day-to-day of the D.J. world – then, she will have the best of all worlds. The two are connected and bedfellows what will help expedite her passage to the mainstream. Having that background in radio gives her the advantage regarding getting her music out there and to the right people. Not only that but she has that enviable reality of not having to take on a job she hates to fund her career – so many modern musicians work several jobs in order to make their dreams work. Even if you take an internship position; one can go to a station like Hoxton Radio and see how the ‘machine’ works. It is an invaluable insight into radio and the music world as a whole – for someone like me, who wants to reach the Elysium of BBC Radio 6 Music, having that convenient and near-located experience at somewhere like Hoxton Radio, that would be immense. Brown, by virtue of her tender years, is on a trajectory that, I feel, will result in chart success and national radio presenting. I look forward spectating her assent and drive. There are few artists that have such a zeal and passion for what they do.

PHOTO CREDIT: @nastassjathompson

This brings me, rather neatly, to why I feel Brown will succeed. I will come to look at my last two/three subjects in a bit but, coming back to Hoxton Radio; Brown has a wonderful attitude towards promotion and spreading her music. Looking at Hoxton Radio and their website; one cannot help be staggered by its design and looks. It is easy to understand and looks beautiful. Considering a lot of their focus is on fashion and London’s stylishness; it should come as no surprise the website is so good-looking and stunning. Brown takes a similar approach and ensures her official website is striking and informative; her social media pages are updated and refreshed constantly. You get a direct look into a bold and hungry young artist who wants to succeed. There are few that have the same energy and work ethic as Sasha Brown. So many artists overlook the necessity of having photos, information and news on their pages. One gets a lot of wonderful images of Brown; a biography and news of what she is up to. That is great for a fan but indispensable for a journalist. It is easy collecting shots to put in a review and one gets an understanding of what makes her tick and compels her music. Right now, Brown is on Hoxton Radio duties elsewhere but, in the past week-or-so, has been on full-throttle promotional duties. Parallel has passed its release day and Brown has been pushing it out to radio stations, websites and reviewers. Many artists have P.R. companies and labels doing that but Brown, inexplicably, has found the time to promulgate and highlight her new song. Many would argue that is what every artist has to do but, I feel, Brown deserves a record deal and P.R. backing – so it could afford her more time to focus on songwriting and her job at Hoxton Radio. In any case; Sasha Brown acts as a shining example of what a young artist should be. Putting in that attention and passion can be gruelling but, if one wants their music to get to important hands, it is something that needs to happen – and not let the ball drop when you release more music.

PHOTO CREDIT: @rhona_murphy

I will tackle Brown’s expose of love and her bent on relationship intricacies but, until then, a little more on her merits as a self-promoter and artist. Hoxton Radio is that perfect boutique station that has its mind of discovering the best artists from around London. Brown can consider herself among them but never relies on her position and nepotism. What she has is the open window of London in front of her. As a D.J., she is able to interview and feature artists both upcoming and established. Seeing how they work and what they need to do to get success will rub off on her. I know she has been watching MistaJam – a stalwart of BBC Radio 1 who is among the most influential D.J.s on British radio – and would have had the time to talk to him about his radio work and the kind of places he has come from. Brown, during her job, gets to unearth an array of artists and will learn a lot about the types of venues they play and what music is coming from them. All valuable experience for an artist who is putting her first moves together. Sasha Brown is not someone who sits back and lets a team take charge of her career and where her songs end up. Instead, she is determined to do things her own way and ensure Parallel reaches the most important and influential sources (and me, obviously!). It is a hard slog and will tire her – even though she projects an endlessly positive façade – but it will reap benefits and long-term success. I am confident Brown’s fastidious and tireless commitment to music will lead her to the big leagues. I guess she has plans and ambitions in the coming years, I will get to those in the conclusion, but, from the off, she has an impressive and focused approach to marketing and promotion. Even though Parallel has dropped; there are performance considerations and ensuring the song makes it way onto local and national playlists.

PHOTO CREDIT: @nastassjathompson

Coming onto Sasha Brown and Parallel; it is, in parts, a critique on club culture and the kind of scenes Brown must experience as a young Londoner: it is a treatise on the complex and detailed intricacies of a relationship. Doubtless, Brown would have found herself entrenched in a relationship that, for one reason or the other, is not running as smoothly as she’s hoped. The reasons behind the dislocation might not be easy to explain or one-dimensional. Perhaps there will be personal differences or each party wanting different things from life. The reasons people find love and fall for the person they are with can be simple and obvious: the reasons they fall apart, rather ironically, can be very complex and unpredictable. Brown’s song, as I will show, spotlights a relationship where the two parties have love and affection but are moving in different ways – much to her chagrin and confusion. In fact, it is more about alignment and synchronicity: lovers who are on the same page but never really coming together as they should. The vernacular of love is different for everyone; the art of a relationship cannot be distilled or confined to soundbytes and easy definition. The task for many modern artists is trying to explain their dynamic and perspective about love whilst retaining an air of mystique and the personal. I feel one of the reasons Brown has chosen to write Parallel – and explain its story and background – is because there is a mass market where love songs are stuffed with basic language, predictable storylines and tattered metaphors. Looking at a lot of mainstream artists and there are recriminations, accusations and judicial vengeance. One never really glean why the relationship crumbles or anything more intricate. Brown does not look at the breakup or rush of affection: there is a forensic examination concerning the tectonic plates and personalities and how one sees two like-minded people moving forward but not gelling as they should. Parallel has an intelligent and deep motif that has a philosophical and metaphysical nature. One finds themselves supporting the heroine but thinking more about their own relations and security.

I’ll return to this point in the conclusion – as it warrants fonder explanation – but I am keen to examine Brown’s music in relation to the Pop market in general. I feel Sasha Brown is keen to add a breath of fresh air to the Pop industry. It is a complex genre that has a lot of sugary-sweet songs and commercial artists; too many acts driven by Spotify streams and download figures – their heads concerned with profit and popularity as opposed to credibility and respect. I know there are ample amounts of artists who pen proper Pop – it has an adult mind and appeals to a variegated and cross-pollinating mindset. Hoxton Radio, Brown’s employers, tends to spin Pop/music that has cooler and credible edges – less reliant on the florid and vacuous brand one hears on some national radio stations. As I type this, rather fortuitously, I am listening to a Desert Island Discs broadcast conducted with Scottish poet, Liz Lochhead. One of her song choices is Marvin Gaye’s I Heard It Through the Grapevine. That spikes something in my mind. That is a Soul classic but is a different take on love and its harsher nature. I feel Brown, whilst one cannot draw a line between her and Gaye, is more concerned with avenues not often discussed and explored in the mainstream. One can argue the word ‘credibility’ is a subjective construct. Music is very personal so how can we say what is good or poor?! I argue there is a consensus that is looking for something a little more substantial in mainstream Pop. It is the most profitable and burgeoning sector for music and the most influential – because it is the young demographic who listens; they are the ones who will dictate music trends in years to come.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

If we are going to produce a generation who hold great music in high esteem; we cannot logically defend some of the Pop music we are subjected to. Crusaders and pioneering artists like Sasha Brown are not trying to overthrow the hegemony of the mainstream – they want to offer a viable alternative that can assimilate into the current Pop culture and provide young listeners with something different. So much of modern music is dictated by what is quick and instantly effective. That is okay if you want to appeal to short-term memories and those who do not want nuanced music. Artists like Lorde have produced Pop albums that show what can happen when you write adult, layered songs. She has been taken to heart and not conformed to the worst traits of the mainstream. Lorde is someone I can tie Sasha Brown to – easier than Marvin Gaye, anyway – and the kind of music that, whilst less prevalent in the mainstream, is much more appealing and intriguing. I shall wrap the introduction up wanted to highlight Parallel as a song one will be hearing a lot more of in the approaching weeks. Brown has been non-stop promoting and getting the song to the people. I am hearing from people who have heard the song and there is the impression it is different to what is out there. It has a summery vibe and distinct energy but there is an anger and explosiveness that adds something spicier and darker. There are few new artists as impressive and hard-working as Brown. She has her sights set on the future and making a big success of her career. The initial stages are always nervous and unpredictable but, so far, everything has been good and sweet. That is because, in no small way, she is a diligent and driven individual that wants to dedicate her life to music.

“All the noises make it hard” is a sentiment that instantly gets the imagination conspiring. Before then, one hears a brief electronic swell and pulse that projects some shadowy images. It is a perfect way to get the song underway: never too long and aimless; tight and compelling in its brevity. When the heroine comes to the microphone; she looks at this relationship and why things are taking a turn for the worse. The lovers are driving/moving slow in the fast lane; they are moving in different directions – it seems odd considering they are together and, one assumes, things were fine until this point. Maybe things have changed or the relationship is running its course. Brown never confesses whether there is any indiscretion and infidelity in the relationship. The two parties are looking at one another and, from the outside, seem connected and solid. We know that is not the case and there are definite cracks forming. “Play pretend to make it better” seems like one of the more heart-breaking and naked revelations from the song. It is though she is conspiring to tell a lie to save a sense of face and hurt. Putting on this mask means people in her life never get to know how bad and stressful things are. In a way, the sweethearts and kidding themselves and delaying the inevitable. Perhaps it is easier putting plasters over the splits because letting go is a final solution they do not want to entrain. I guess every relationship has its struggles so it might be premature to go separate ways when the first bump in the road occurs. One suspects this is not the first time the duo have had to encounter difficulties. Brown, in the verse, expends a little of effort providing her thoughts to the situation – it is quite heavy on narrative, exposition and language. The voice is fast and heated which gives the song a sense of anxiety and hurry. The listener is taking in one direction: when the chorus comes; that dynamic changes and the song is less accelerated. Well, in terms of vocals/lyrics it is because, in its place, is a warped, skewed and echoed electronic ‘voice’ that seems to embody the combination of emotions occurring inside the heroine.

Sasha15.jpg

PHOTO CREDIT: @charlicohen

There is something familiar and pleasingly tangible about the chorus. It has an oldskool vibe to it but – like Beyoncé, Lorde and the queens of Pop/R&B – that blend of easy confidence and hooks. Brown has a wariness and hesitancy but controls the song in a way one never feels the need to rescue her. There is not the sense the dam will break and the tears will come out. Rather, one hears a strong young woman who is calling her fella out and trying to confront the problems in a very mature way. In the same way as, say, Beyoncé looks at a sour love without rose-tinted glasses – Lemonade has its aggressive moments but there was candour and consideration mixed together – Brown seems like she is attempting to reconcile the divisions with a pragmatic and dogmatic approach. There are definite truths and appears there is no one-sided culpability. The beats are thick and bellicose; the swagger and defiance there – coupled with a sadness and sense of confusion. Brown rides the electronic-percussive wave like a G but reserves herself from cussing, exploding and breaking down. In a way, she is detached from the white-hot heat of the situation and viewing the relationship like the proton in the atom – never disembodied or disconnected; surveying the fragmentation with a bird’s eye view of the surroundings. Brown is not too engrossed and biased; there is never naivety that would cloud her vantage point or exacerbate the situation. Things are a mess – as she says so herself – as the need to play for the crowd is starting to wear thin. She cannot pretend and is exhausted by the emptiness and cold nature of the relationship. If two lovers are sharing a bed and a physical connection but do not have that intellectual and personal simpatico – you are not in a real relationship; more in a sexual bond. That might be alright for some but Brown seeks something deeper and more fulfilling. One cannot give their heart and time to a relationship that is bankrupt and morally fraught. It appears the guy has some culpability and Brown is not one to exonerate without good reason. One never gets the reason behind the disenchantment but things have run their course – two people with conflicting ideologies and views on what a relationship is about.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

It might be iconoclastic to say this but I feel some of the finest Pop artists exaggerate and embellish songs of love/relations in order to connect with their audience – heightening their commercial appeal and meaning their songs get onto radio quicker. That might seem cynical but one hears a lack of genuineness and authority in some songs. With Brown, that can never be the case. You hear Parallel and follow its arc and tribulations. Maybe she is still invested in the relationship – it is reaching its ugly conclusion and still has some tattered feathers clinging on – but the best days are very much dead. It is quick voyeuristic spectating as one hears the heroine pour her heart out and unveil her troubled thoughts – quite hard to divorce oneself from the emotion and struggle the heroine faces. The good thing about someone young and in love is the fact heartache will be a familiar currency down the line. That might not seem positive but (it might not be the first time Brown has been heartbroken) a certain exposure and experience make future breakups easier to handle. The tender in years have a tenacity and resilience others do not share. That is not to say any upset and anger would be unwarranted: there is a sense of pain that runs through Sasha Brown’s new song. The heroine’s voice retains its proprietary blend of sexuality, seductiveness and strike – she is alluring and silky-smooth but has the high heels on (and is determined to stick them in the nuts of her doghouse-bound man). Maybe the fact she acknowledges things are past salvation gives her some closure – one can never get closure in any situation but a comparable sensation – and clarity. She is not doggedly clinging to a sinking ship hoping it will turn the right way up. Brown is in her twenties but does not display the ignorance and naivety many of her contemporaries do. It would be incongruous to suggest Sasha Brown has transcended the situation but she has mollified and mitigated her most poisonous sense of revenge and attack with passing of time and anger – not as aggrieved and dismayed as in the beginning.

Anyone approaching Parallel and expecting to hear your run-of-the-mill Pop voice – over-produced and produced to crap; lacking any emotional spectrum and inflexible to the core – will have to think again. In the first-half of the song alone, I hear so many different inflections; cadences and shades emerge in Brown’s vocal. Backed by electronic and percussive entanglement that ranges from sweaty and sexual to jungle-cruising and street-pounding – it would be hard to coalesce these diverse components into a cohesive whole. Maybe her work on Hoxton Radio – and natural exposure to variegated Electronic music – has given Brown a sixth sense and natural affinity. The composition is the arrhythmic heartbeat that defines the entropy and fragility of the relationship. It is rude and righteous enough to gain nods from the most credible and cool city-dwellers but blissed and sweet-leaf so it could traverse the islands and luscious beaches and gain the kudos and flirtatious winks of the most bronzed and bountiful bodies. In essence, its brain and bones are installed and instilled in London: the soul, essence and spirit seem to have their sights set on the beaches and warmer locales. Brown sits in the mix as the narrator and heart-acher: a staunchly brave woman who realises the relationship is ready for disposal (“All our love is all dried up”). Looking at Brown’s voice and one hears quivers and soulful touches emerge. In terms of her influence, there seems to be a blend of U.S. R&B/Pop with British Alternative/Pop. On the one hand, she has a sultry and luscious tongue with an imperious and unyielding confidence. It means Parallel sounds natural and distinct but has some familiar sounds creeping in. This will mark Sasha Brown as an artist to be reckoned with but, one feels, give her an advantage when it comes to getting the song into the wider market. There is no shortage of honesty in the song. The heroine knows things have dried and there is no real way back. It is a song that will resonate with a wider sector of the population – not just the teen/pre-teen market or females. Parallel is a rewarding song that demands repeated plays: new insights and joys can be exposed every time you hear it. Among the seriousness and potent emotion is a sense of fun, frivolity and dance-ability – this is true of the composition that is adaptable enough to rule in the clubs but primed for various radio stations and locations around the world.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I will finish this up but, before I do, look back at some of the things I addressed in the introduction. Before then, a look ahead at Sasha Brown’s year and what it holds. We are past the halfway mark of 2017 and, so far, it has been a great one for music. Some of the best albums of the last few years have been produced in the first few months of the year. This is having a knock-on effect on new musicians who are providing the world some stunning music. Brown is among that pack determined to have the same chances and platform as the big artists. Parallel is a strong and intent declaration from a young artist who could easily fall into clichés and pigeonholes. She is young and beautiful and has brought out a song about relationships. Look at the mainstream and there are plenty of people doing that. What separates Brown from the clan of empty-eyed Pop artists is the personality behind the ‘looks’. On the surface, yes, she could be labelled as an average and everyday Pop artist. Discover more about Sasha Brown and one bonds with a bright, vivacious and fascinating young woman. Parallel is no ordinary song and tackles love in a new way - I will return to this later. What I want to see if London opening its doors to Sasha Brown and providing her some chances to shine. There are so many venues close by that would eat up her music. Maybe Brown will wait until there are more songs in the ether - but I am sure she has some cover versions in her repertoire. I do not know but am sure there will be more songs/an E.P. further down the line. There is a definite passion in Sasha Brown: a need to capitalise on the affection Parallel is receiving and keep that momentum going. Whether she will put an E.P. out before the end of the year I am not certain but it would seem likely. Then, she will have more songs to take around London and rock the best venues we have. Brown will play Secret Garden Party at 12 P.M. on Saturday, 22nd July, so make sure you catch her there!

PHOTO CREDIT: @nastassjathompson 

Almost finished but, before I leave, a revisit of some things I talked about earlier – London and its importance; artists who are strong, original and multifaceted; female artists and getting them promoted (something I overlooked in the introduction). London continues to impress, awe and amaze. It is a city that is at the forefront of modern music and produces some of the finest acts in the world. Not only do we have the best venues here but the most diverse and fascinating sounds around. Maybe I am biased but, the fact so many international and nationwide artists are coming here, proves my point to an extent. It remains that natural calling for those resigned to towns and villages. The same way New York provided a sanctuary and new life for people years ago: London is the Mecca and perfect location for the musical immigration. The situations are not the same but London is synonymous with its musical heritage and attractive qualities. I know there are downsides to the city – like any, in fact – but the benefits and allure outweigh any negatives. I bemoaned the fact some people I know have moved into an idyllic place in London very recently – and the fact I have a very London-centric ‘dream life’ mapped out. One cannot refute the seduction of the capital: that is especially true when it comes to music. I am determined to get there but Sasha Brown is already there. Working for Hoxton Radio, she is in the enviable position of getting to see some of the capital’s best and most eager artist come through. Against the feculent belch of the mainstream’s worst; Brown is being exposed to artists who have the chance to make positive changes in music. She is among them and in the best city to exploit her talents and determination. I looked at how effective Brown’s promotion is and that is something one cannot overlook. Too many rest on their laurels and assume a P.R. company/label will do all the hard work.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

What strikes me about Sasha Brown is her many talents and how that can lead to a long career. She is a saxophonist and, in a strange way, gives her more options than you’d imagine. In terms of genres; Parallel is not pure Pop and suggests Brown will be experimenting with new sounds very soon. In any case; she is someone who can play music and more at her disposal than most of her peers. As a singer, she has a definite blend of colours and emotions that stick in the mind. Her music appeals to the heart, soul and bones. One hears a song like Parallel and gets their body moving but stops and thinks. It digs deep and makes one think about their life/relationships and the complexities of love. The music, production and vocals all shine and project so much energy, curiosity and passion. These are components that, when mixed with the enthusiasm and talent of Sasha Brown, creates a wonderful music concoction.

Brown is not someone who needs a cavalcade of people putting her music together. There is a singularity and determination that one would like to continue. I am excited to see how Brown develops and evolves as an artist – whether her new songs will tread the same path or take in new inspiration. I feel female artists have to prove themselves these days. There are fewer big chances for female artists - which is an injustice that needs to be redressed. I am unsure whether it is ingrained practices or stubborn prejudices that are prohibiting some incredible artists progressing as fast as they should. I do worry whether there will be any quick changes or easy answers but I am hopeful something will happen in years to come. In the meantime, one looks at an artist like Sasha Brown and whether she will reach the mainstream as quickly as she deserves. Sheer talent and work rate will go a long way but she warrants as much affection and backing as possible. I have run out of time, in a sense, so will leave things as they are. Parallel is a curious revelation that looks at love in a different way. Two people who seem like they are moving in the same direction but are not as in-sync and fully-formed as they should be. There is little anger and accusation: a young woman who wants to get to the bottom of the imbalance and find some artists. It is a big and stunning number from a singer-songwriter who has a lot of years ahead of her. Parallel is the start of things but, one suspects, Sasha Brown has…

PHOTO CREDIT: @charlicohen

MANY more songs to come.

_______

Follow Sasha Brown

TRACK REVIEW: Josh Michaels - Break Around You

TRACK REVIEW:

 

Josh Michaels

 

 

 Break Around You

 

9.4/10

 

Josh2.jpg

 Break Around You is available at:

https://soundcloud.com/user-215619536/break-around-you

GENRES:

Alternative; Pop; Opera

ORIGIN:

New York, U.S.A.

RELEASE DATE:

July 2017

The E.P., Out of the Deep Blue, is available at:

https://itunes.apple.com/us/album/out-of-the-deep-blue/id1152278451

_______

EVERY time I arrive at the feet of an…

PHOTO CREDIT: Josh Michaels

American artist; I find myself looking at where they come from - in terms of state and county. Before I look at Josh Michaels; I want to address a few subjects. To start, Opera and Classical music; writing from the heart and connecting with people; getting your music played across the world (and various media sources); artists who experiment with sound and want to connect with listeners through music; the idea of ‘making it’ and where one goes to do that – a bit about New York and the music coming from there. In the course of my reviews, I get to address all manner of artists. In terms of genres, I think – over the last five-and-a-bit-years – I must have covered every style and sound going – including sub-sub-genres and newly-invented portmanteaus. It is always interesting discovering something genuinely ‘new’ and exciting. Over the past few weeks, I have had the chance to check out some terrific Pop, Indie and Electronic music. It has taken me all around the world and introduced me to some fantastic future stars. In the case of Josh Michaels; his operatic tones and fusion of ideas – a melting of Opera/Classic/Pop and Alternative – is intriguing, to say the least. If I were to say the words ‘Opera’ and ‘Classical’ to you: one might assume there is going to be something quite stuffy and grand. Sure, Michaels has a big voice and atmospheric songbook – he is not someone who creates purist Opera that is reserved for those who stubbornly refute modern elements and any invention in the genre. It would be redundant, if one wants to be popular and widespread, to perform in a more ‘traditional’ sense - a pure operatic delivery that is found in theatres rather than national radio. Michaels’ background is in Italian Opera. That is what he trained in and employs a lot of its merits and disciplines in his music. The great thing about modern Opera is its adaptability and evolution. It is not a stuffy and elitist genre that alienates other listeners. At its core is a triumphant and emotional delivery: a vocal-cum-instrumental presentation that gets the heart beating spiritedly and the blood pumping hot. The lyrics are modern and universal. One will find few tales of doomed ancient lovers and interfamilial strife – one might, but it would be a contemporary equivalent.

There was a time, not too long ago, when music suffered a bit of limit and restriction – not as cross-pollinating and varied as one would imagine. The inspiration chest has been replenished and, in 2017, artists are as explosive, original and ambitious as any time in recent memory. There is still a commercial aspect to music (I shall nod to that later) but new artists are taking the effort to produce music that stretches the imagination and engages the mind. That is true of Josh Michaels who, lacing Italian Opera with flavours of Pop and Alternative, creates something heady, arresting and mature. If one is wary of embracing a genre like Opera: listening to artists who bring aspects of it into their music is an accessible way in. Michaels has that knowledge and knowing; he is a commanding vocalist and someone who appreciates the principles and dignity of Opera. He does not tamper and make light of its personality and power. Rather, he harnesses the romance and emotional power of Opera and introduces it to the open and for-the-people qualities of Pop, Alternative (and other genres). It is a great blend and one that provides people like me – not that au fait with Opera and its D.N.A. – a portal into a phenomenal style of music. The issue one can have with artists who are sonically ambitious is a lack of identity. In fact, I am reading reviews of alt-J’s latest album, Relaxer, and some of the most disparaging feedback – some say the songs are scattershot and the band lack any cohesion and personality. If an artist has that no-barriers approach to their sound; there is always the risk of lacking focus and cohesiveness. That is not the case with Michaels who keeps his music rooted, tangible and infused with infectious personality and real depth. It is an emotional and physical experience – discovering his music – and once one hears a song like Break Around You; you are compelled to dig further and witness the full spectrum of his talent.

Most artists, one would imagine, try and write from the heart. It is a way of making their musical personal and direct. Even if the song you’re writing about is not about yourself or a relationship; it does not mean you cannot project a sense of the heartfelt and tender. Josh Michaels is a storyteller who, despite his youth, has experienced a lot and is keen to open his soul through music. I guess there is a certain vulnerability being too transparent and revealing. A lot of artists are either too hesitant when it comes to talking about their experiences/relations or doing it in a rather predictable manner. It is one of the hardest things to nail: writing about love/yourself and making it accessible to the masses. Michaels is not someone too concerned with the mainstream and commercial avenues – he does want his music to connect with as many people as possible. That is why he has been so hard promoting the Out of the Deep Blue E.P. – to make sure people are aware any experience everything from it. Traversing the E.P. and one is struck by the conviction and emotion that comes out. I use words like ‘emotion’ a lot and that can be an ambiguous term. Michaels, in the E.P., talks about his life but there are some hard revelations and sensitive moments. It can be all-too-easy shrouding those in obliqueness but he does not favour that approach. Instead, we have a young man who feels the best way to resonate and make an impact is to keep his language simple and intelligible. Maybe that stems from his Opera background – although, there are productions and composers who favour florid language – it is more to do with Michaels’ nature. Every utterance and line stem from someone who wants the listener to immerse themselves in his mind – become engrossed and involved with the song completely. The performances explode from the heart and have such a lasting effect. I am finding a lot of musicians complicating language and shielding themselves behind metaphors similes and clever wordplay. It is impressive to hear poetic and fascinating lyrics come from an artist but one yearns to hear something bare-naked and uncomplicated. The downside of this approach is appearing too-simplistic or generic but, when it is done right, the results are clear. That is what one gets from Josh Michaels: no pretension or graces; someone who takes his tales and observations and ensures they get straight to the listeners’ hearts.

I shall move on to something that has appeared on a few of my reviews lately: artists who get their music played on various stations and across the world. For Michaels, he has had his songs played on radio in Europe and America. It would appear there is a lot of attention coming his way which is pleasing to hear. His E.P. was released late last year but, since its unveiling, has been met with acclaim and interest. Based in the U.S.; there is a huge market over here – the biggest music economy in the world. It must be daunting for artists to make a career and separate themselves from the crowd. How does one, realistically, get their music played on stations all over the world? It seems easy, in an Internet-age, to make that happen – it is not as easy as one might perceive. It is not a case of popping a song online and hoping D.J.s bite like fish. One has to put leg-work in and actually do their research. Of course, you need the talent and originality to resonate with stations and their demographic. Some artists, those who play mainstream sounds, have an easier time targeting stations and sites. For those, like Michaels, who play something different – where do they go and how easy is it to get the music heard?! In the U.S., there are few artists who do things the same way as he does. Promotion is an important asset and something new musicians should not overlook. Michaels has ensured he’s being interviewed and focused on by some big sites. He has been chatting about his music and, when the interview is online, sharing the post to ensure people see it. That will get into the mind of his contacts – many of whom will be radio stations and D.J.s – and make an impact on them. Right now, Michaels is promoting Break Around You – the first new track since his E.P. - and will be eager for it to be played in as many countries as possible.

It is an assured song that shows he is among the most interesting and inventive artists in the U.S. I am not sure what his promotional campaign involves but, having come to people like me, he wants it exposed and reviewed. Were the song weak – which it isn’t – then it would be hard getting it celebrated and shared. As it is; it is a powerful track that can easily shaft itself about the airwaves. For Michaels, it will be a case of getting the song out to blogs (national and international) and hitting as many as possible. He knows all this – for the benefit of those who do not – but there are niche and general blogs who would be interested in the track. Doing the leg-work and putting the graft in is an essential part of being a musician. In terms of the digital/written world: social media is an important tool. Directly contacting sites and asking them for interviews and features. It can be harder to get into the sights of the stations as they have set playlists. If one wants to get their songs on radio stations; it is best to start locally. That does not mean the lesser stations and those who you do not respect. There will be at least one that plays the sort of music you like. Making that contact and putting an email to the director/producer of the show/station will never hurt. Being a big fan of stations like BBC Radio 6 Music; a lot of their songs are from new artists and those underground. Many of those tracks are discovered online; artists get in contact with them. It is important doing your research and not throwing your music to everyone and hoping something sticks. Michaels, as a New York-based artist, is around a mass of stations. He knows the kind of station who plays his music and needs to persist. Keeping them updated about his latest releases means he is in the consciousness and has that passion for being heard. Naturally, one needs to have that talent and skill so their music gets played on the radio. Michaels develops his music and, with every release, brings something new in. This skill and evolution – together with a determination to get the music across the airwaves – will pay dividends and see Michaels heard around the country. I am confident, because he has already been heard in Europe, the music will be more known over here soon. It is hard fitting in and seeing which British stations will play his music – there are a few, for sure, that will host his music. I will keep my ears out by the American artist is working hard and showing how it should be done.

Josh Michaels has international ambitions and wants to get his music to the people of the world. I have followed his music for a little while and can see new things coming in. At the beginning, the genres employed with Opera and Pop. Now, I am discovering something heavier and more experimental. There are Electronic elements and sounds that would be familiar to the coolest radio stations around. Whether this slight shift is a reaction to the market demands – Michaels wanting to get his sounds to new people – or an unconscious decision, I am not sure. It is interesting looking at the developments in Michaels’ sounds and how he is growing in confidence. That Opera background fuses with of-the-moment chart sounds but does not compromise its purity and intelligence. At its heart; the music is designed to get into the heart and connect, on several fronts, with the listener. It is not shallow and overproduced music designed to make an instant impact and not linger in the mind. Michaels is a purveyor of nuanced and multi-dimensional music. It is not reserved for those who know Opera or have particular tastes. It is becoming broader but, as I say, not compromising anything or losing identity and credibility. An interesting time for the New York artist. I am excited to see how his career develops and how the rest of 2017 plays out. Break Around You is a song that suggests there is plenty more left in Josh Michaels. I am keen to see what his next move is and whether there will be another E.P. Out of the Deep Blue has already been met with respect and acclaim: there is a desire for Michaels’ music; it is crossing boundaries and making its voice known in a number of countries. Before I come to long at the song in question; I want to look at New York and whether it is the best city for Josh Michaels to make his name.

I have never been to New York but I can understand its allure and appeal. It is a wonderful city that attracts millions and has that incredible reputation. For Michaels; there is so much music and life available to him. The opportunities and possibilities are enough for anyone to move over there permanently. Many have told Michaels, in order to ‘make it’ in music, he needs to get himself to Los Angeles. L.A. is seen as the place to go for any musician who really wants to succeed in music. I am not sure where this perception comes from. Maybe, the clement climate and luscious scenery, connects to that classic ideal of Paradise and the perfect. The Los Angeles bodies glisten; the sun shines and it is an ideal landscape for everyone. That is the cliché ideal - but not one that is realistic and necessarily true. There are downsides to Los Angeles and definite drawbacks. There is a different music scene in L.A. so one cannot assume any musician would succeed and flourish there. It is harder transitioning from a city like New York and going to L.A. The people are different and way of life differs between the two. That East Coast mentality is at-odds with the West Coast ethos. Sure, there is more money is Los Angeles but the musicians there, in my view, no stronger than New York. Both places have validity and positives but there must be that immense pressure (for Michaels) to relocate. He has spent his life in New York so knows the people and vibe of the street. So far, he has garnered respect and positivity from stations and sources in New York and is building that local reputation. It is a challenge – in both cities – getting ahead of the pack but that is true anywhere. Michaels has already done the hard thing: created music that does not easily fit into the mainstream. I am not sure whether New York is as chart-driven as London but there is going to be that desire for something commercial and accessible.

Michaels has sounds that can be extrapolated and appreciated by the masses but, for the most part, his music has a unique edge and definite original skin. New York promotes and fosters artists who do things differently so I would not be in a rush to go to the other side of the country. I can see the appeal of L.A. in the sense there is a big market for music and some of the biggest labels and artists reside there. There is, away from downtown Los Angeles, a chance to unwind and be inspired. Would Michaels be a different person if he moved to Pasadena or Malibu? Would he be a different musician, for that matter?! I am not sure but do know he would have to change, to an extent, and start over again. How tempting is it to start from scratch and be someone he is not? I am not sure whether he will spend time over there and relocate in the future. New York’s music scene is legendary and undeniably world-class. Consider all the great bands who have come from there and the terrific artists there are right now. Go from borough-to-borough and one gets a different climate and flavour. The music of Brooklyn and Manhattan is distinct compared to Long Island and The Bronx. There is so much available for the curious musician. For me, I feel the only real way to make it as a journalist is to move to London. That is understandable as it is the capital and has the most lucrative music market in the U.K. Like L.A., it is not the only part of the country that is set up for ambitious creatives. Manchester is a wonderful part of Britain that has an active and thriving music scene. I would be happy in each but, the reason I want to come to London, is because it is busier and closer. For Michaels, he has spent his life in New York and not ready to abandon the city he loves. Why should he as he has the chance to do something wonderful.

It is evident, from the opening seconds; one gets the whole package from Josh Michaels. The introduction is brief but offers bubbling and atmospheric electronics. You get some determined percussion but the mood is kept light and intriguing. When the hero comes to the microphone – those who do not know his voice might expect a different sound – it takes the song in a new direction. I was expecting, from the sound of the introduction, something quite light and Pop-driven. Instead, the voice has that seriousness and passion. It is a nice contrast and one that adds gravitas and layers to the song. One hears about the darkness – maybe he is speaking about a heroine or friend – and the fact the light will come soon enough. Maybe it is intended towards a sweetheart or a song that looks inward. Whatever has brought the uncertainty and darkness; the dawn will come and the shadows will be refracted and dissipated. It is the voice that keeps the listener engrossed and fascinated. It is hard comparing it to anything else but there is a definite nod to legends of music – Michaels is original but has that command and conviction reserved for a certain few. It is a wonderful sound and one that gets into the mind with ease. I hear crackle and vintage echoes; there is an undertone of electric swirl and the distant sound of the city. It seems, when hearing that crackle, you are listening to an older record. The production values mean the sounds are clear and crisp. There is a moodiness and atmospheric haunt; romantic and alluring delivery and cautionary words. Michaels, it appears, it talking about a companion. She – I think it is about a girl, at this juncture – seems afraid to be alone and must be wrestling with a few things. Maybe Michaels is being used as a sounding-board and shoulder. She is putting out her concerns and Michaels is reacting.

Michaels’ voice, David Bowie-like in places, wobbles and strikes. It is a wonderful delivery and one that ensures every word get into the heart. The heroine should not “go chasing shadows” and, it seems, she is holding on to old memories. Maybe there is a sense the girl is looking in the wrong places for love and guidance. Looking deeper into the song and one wonders whether Michaels is a lost love or current flame. There is that affection and support for the girl: maybe a need to save her and keep her close by. In terms of the vocal, he is keeping dignified and cautious. Offering support and maturity; one feels he would rather be candid and let his true emotions come through. Break Around You, in terms of the title, is about the darkness and shadows eroding; the need to cast off the shackles and live a better life. Getting impressions of Boy George and Anohni – hope he does not mind those comparisons – the vocal gets hotter and more involved. The composition comes into the foreground and those beats and electronics do their work. The heroine is letting others control her and living a way of life that is not working. Michaels offers a force of light and sensibility. He is there to show she needs to embrace the goodness and potential inside her. “Stay above the hate” is a mantra accompanied by intense electronic hums and an eerie mood. The hero is determined to make a change in the girl’s life – at the very least, show her why she cannot continue the way she is. It is interesting interpreting the lyrics because they would be different in Michaels’ mind. I get the sense they pertain to a friend: someone who has had a tough ride but is starting to turn a corner. It is easy submitting to the hate but that will not be wise. If I were to dig deeper; I feel there is a romantic component to the song. It seems Michaels has some fondness for the other party. I am not suggesting this is a call-out and seduction but, with the friendship and wisdom, one hears his heart beat faster and more passionately than normal.

It appears the world needs to break around her. Things are getting complicated and intense: allowing the rocks to crumble and splits to appear might declutter things and offer some form of clarity. One can feel the strain and emotiveness in the vocal. There is a personal element to the song that takes it beyond the intangible and really starts to connect. We have all been in a situation where we have experienced these emotions – or seen someone going through some tough times. Michaels articulates a universal message but projected from a personal place. That is what he tries to do with all his music. Rather than separate himself from the listener: one gets a young man who involves them in the music and writes songs they will understand. The composition gets more intense as it bounces, percolates and strides. It has the potential to be a big club hit. One gets involved and finds their bodies moving and compelled. Such a full and physical song that urges (the heroine) to turn her “black world blue”. Things are bad now but there is a way out. What I love about the song is how unexpected it is. Even if you are familiar with Michaels’ E.P., Out of the Deep Blue, you might not expect something like Break Around You. The sheer conviction and passion in the song tops anything he has attempted before. The final moments reiterate the chorus and implore strength and bravery. You find yourself singing along to the chorus and supporting the girl. Maybe I am reading too much into the romantic: the song could be about a friendship or a way of Michaels singing about his own life but detaching himself slightly. Surely, as a young man in a big city, he would have felt black days and scared at times. Whatever your viewpoint and interpretation; Break Around You is a fantastic song from one of New York’s finest young musicians.

Josh14.jpg

I shall come back to some of the points I raised earlier but, right now, a look ahead for Michaels. He will be looking to tour and perform his latest music very soon. I know he has gigs in the U.S. but he must be thinking ahead to new music. Out of the Deep Blue is an E.P. that has done very well but there must be that temptation to build on that – Break Around You is not on the E.P. and shows where Michaels is heading right now. I am not sure whether he does have new material ready but the confidence he has right now surely drives that creative impetus. I would like to see Michaels come to the U.K. as there is a definite audience over here. Knowing Opera-based artists like Gemma Louise Doyle; it seems, between them, they could organise something. There is a great Opera scene in London and a lot of modern artists who would be able to support Michaels. I know, from various interviews, the style and complexity of British Opera. You have the pure and unadorned form that keeps things to history and tradition. More and more, I am seeing artists inject Pop lightness and fun into Opera; Rock elements and Soul. Genres do not have to be rigid and static: artists can add new elements without making the original source watered-down and foreign. Josh Michaels has the energy and talent to take his music wherever he wants so let’s hope Britain is part of his plans. There are countries in Europe that would love his music so that is something to consider. He will need to do a bit of research but his appeal is not confined to the U.S. On the subject of new music; whether Michaels continues the sound of and themes of Out of the Deep Blue or not remains to be seen. Break Around You is a song that comes from the heart and one of the most direct and affecting tracks that he has ever created. I approve of artists who create emotional and open music without making their lyrics sound stereotyped and predictable. There are too many acts who employ clichés and do not stray beyond convention.

Michaels is a musician who takes from his own life and reacts to his experiences. I have done my best to get to the nub of Break Around You – and hope I have done it justice. In the past, he has had his music played on MTV and short films; been heard around America and built up an impressive fanbase. The social media numbers are climbing and bringing in fans from various nations. Maybe it is the personal approach Michaels takes to music that has seen him gain such acclaim and interest. I know many musicians do create similar music but it is the way Michaels does it that really interests me. He is vulnerable with the listeners but does not look for sympathy or cast blame. There is a young man who responds to his stories and heartaches and tries to make sense of it all. He has felt love and disappointment; the sting of betrayal and the elation of the music world. Making sense of that all and forming interesting music is harder than one might imagine. There is that temptation to copy your peers and make something that has radio-friendly sounds. One does get commercial appeal and potential (with Michaels) but there is a distinct soul who has the desire to make his music internationally known. That will come very soon because, with each new release, he is growing stronger. The reason behind his development and popularity is the way Michaels puts new sounds and elements into his music. That is not to say Michaels is becoming less focused. I started by looking at a band like alt-j who, on their latest album, have been accused of lacking identity and personality. They, on Relaxer, experiment with sounds and cover so many genres. Is that a danger for artists? In their zeal to distinguish themselves; perhaps they have done TOO much and need to reign their music in. That is a danger for new artists, too. Many can get carried away with their sound but that is not the case with Josh Michaels. He is level-headed but knows musicians need to adapt and try new things.

Right now, Michaels does not have a Twitter account but I hope that changes in the coming months. There is a world out there that is unfamiliar with his music – and would love to hear it – and is waiting. Right now, there is the sense he can go as far as possible and make some real headway. New York is a bustling and never-sleeping hub that buzzes and explodes with people, sound and energy. I can see the attraction of remaining there. One can never get bored in the city and, for a musician, it is one of the best places to be. I do not know whether Michaels will surrender to the lure of L.A. but, when it comes to making a success of things, L.A. does not own the rights. New York has huge stations, labels and P.R. companies. Los Angeles has a different way of life but that does not mean it is better or more opportunity-filled. Michaels’ official website is impressive but, from a P.R. perspective, there is a great chance for him. He is a photogenic chap – much more so than me – and has a face that many would like to see. There are some great shots of him on the website but, in my mind, a couple of official shoots would be great. Whether he shoots solo – or has a model/people in the photos – is his choice but taking to the New York streets. I am not sure how close he is to the Metropolitan Opera (30 Lincoln Center Plaza, N); Neil Simon Theatre (250 W 52nd St) or Bryant Park but there are some great locales and spots. It would be good to see a collection of high-quality photos of the young artist adjacent to some landmarks and hotspots in New York. Maybe he does not need to confine himself to his home city but there are ample photographers who would spare the time. The same goes for social media. Getting that Twitter account set up; putting more music on YouTube and getting a music video made would not only see the music get to more people but make it easier to market, share and gain feedback.

In his twenties; there is time to do that but I wonder whether that will coincide with his next release. I digress but see a lot of potential in Josh Michaels. With that strong voice and incredible songwriting ability; he has the talent to be a star in years to come. Break Around You is ample evidence and a fantastic cut from the New York resident. I shall leave this by talking about Opera. It is a genre Michaels grew up listening to. His teaching is in Italian Opera so it is not surprising it should for the core of his music. To me, it is the vocals and expressions that owe a debt to Opera. In terms of sounds, there is Pop and Electronic aspects. That is a great way of introducing Opera to people but ensuring it crosses age and taste barriers. Many still have that stuffy and ignorant view of Opera. They assume it will be a drag and something that will not appeal to them. It has updated a lot over the years and, as I said, a lot of modern artists splice Opera with modern themes, sounds and ideas. You get a sensation that pleases the purists but brings in new audiences. That is true of Josh Michaels who is modern and classical all at the same time. Make sure you follow his music and see where he is heading. He is loving New York and taking so much inspiration from it. At his feet, he has access to Opera houses and theatres; some of the finest art in the country. I am not surprised he wants to remain there as it sounds like a city that accommodates his passions and personality. One can hear this happiness, passion and comfort in his music. That incredible and determined voice sits with personal and memorable lyrics. One gets a window into a superb musician who is taking the first steps of his careers. I, for one, cannot wait to see where Michaels goes from here. Wherever that is, let us hope, the course of his travels, he makes the time and…

COMES see us over here.

_______

Follow Josh Michaels

TRACK REVIEW: Noga Erez - Noisy

TRACK REVIEW:

 

Noga Erez

 

 

 Noisy

 

 

9.4/10

 

 

Noisy is available at:

https://www.youtube.com/watch?v=gzWZgc2NvrU&feature=youtu.be

GENRE:

Electro-Pop

ORIGIN:

Tel Aviv, Israel

Written & Composed by: Noga Erez, Ori Rousso and Matan Spenser
Produced, Arranged and Mixed by: Ori Rousso & Noga Erez
Production: Poly Creative
Directed & filmed: Hen Makhluf
Editor: Guy Landshaft
Producer: Ayala Drori
Choreography: Gal Gold
Dancers: Gal Gold, Hila Pilo, Shani Ben David, Mor Adelle Nahum.
Animation: Danna Grace Windsor
Styling: Chumi Polak
Hair & M.U: Ronelle Goshen
Hair & M.U. assistant: Sapir Esgav
D.o.P. assistant: Ilay Mevorach
Lighting: Noam Huber
Grip: Denis Nikolaev
Production Assistant & Stills: Arye Tzion
Sfx: Ori Rousso
Vfx: Hen Makhluf & Guy

Noga1.jpg

The album, Off the Radar, is available at:

https://nogaerez.bandcamp.com/album/off-the-radar

______

I am getting all international with my reviews…

PHOTO CREDIT: Sasha Prilutsky

at the moment. Yesterday, I reviewed a Serbian-born artist: next week, I have a New York-based Opera singer and an Australian musician on the agenda. Next weekend is about the boys: this week I am dedicating to the girls. Not just any girl in this case – Noga Erez is one of those rising stars who is, it seems, too big for the likes of me. I feel a sense of responsibility reviewing someone who is practically at the mainstream. Regardless, I am compelled to look at a fantastic female artist who seems primed for worldwide stardom. Before I look at her, I want to investigate critical reaction and the importance of accruing terrific reviews; Israel and Tel Aviv’s music scene; making videos that stick in the mind; making music that unites different people; key inspirations and fusing them together – looking at international artists who cement a reputation in the U.K. Noga Erez is someone who, despite being in music a relatively short time, has a catalogue of reviews most decades-established artists would be envious of. She has caught the ear of The Observer – labelling her “Israel’s most defiant star” – and Sunday Times Culture – who see her as too fierce to be labelled. DIY and Wonderland tip her for long-term success – and support the notion she is fearless – and Quiet & Loud, referencing her videos, feel the combination of music and visuals is hard to beat. It might sound dangerous bringing other reviewers in but it is important to see how far and wide Erez’s music has resonated. Here, she is being taken to heart and seen as one of the best young musicians around. I am interesting seeing how various critics view an artist and what their interpretation is. It might seem risky, being a journalist, bringing others in – maybe distracting from my own review – but, in Erez’s case, there seems to be a consensus. I am stunned by the fearlessness of the Israeli artist. She seems to have no limitations and approaches music with a verve and bravery few others possess. The critics have been out in force and paying tribute to a musician that is in a league of her own. Erez does not play with convention and projects music meaningful to her. So many young artists are determined to fit into the mainstream or wary if pushing themselves out of the blocks.

PHOTO CREDIT: Timo Kerber / Photography

There is that desire to have some conventional sound – so they do not alienate themselves from the pack – and attract reviewers and fans in. As we can see, when it comes to Erez’s reviews, that distinct and bold approach to music has garnered her fabulous feedback. I see a lot of artists get incredible reviews but they are reluctant to share them with people. It is not boastful and arrogant putting them out there. In the case of Erez – I got the information from her P.R. company – she has some of the most impressive reviews I have seen for any artist. That shows she is doing something right and creating music that seems immune to criticism. What I like about the reviews is the variation and diversity of the sources. She is not an artist who appeals to a certain sector/genre. Her Electro-Pop blends are open and versatile enough they appeal to every type of music lover. For a new artist, the desire is to get into the critical mindset and get some positive impressions. Naturally, social media feedback is key; comments on YouTube can be constructive but the journalists are the ones who can make or break an artist – impressing them is quite important. Of course, Erez does not make music solely for critics. She is a singular talent creating music for her fans but, reading that impassioned list of reviews, it must give Erez heart and determination. There are some big newspapers/sites on that list which she should wear with pride. One can underestimate the relevance of mainstream/press positivity but it is very important. I will try and add my own spin to Erez’s music and try to pen some unique thoughts. Many have highlighted her brave and experimental approach; the way she mingles stunning visuals with bracing music – a wonderful young star who has the makings of a future legend.

It has been a little while since I have been to Israel for my reviews. ADI was the last artist I reviewed from the country. There are a fair few who might be unfamiliar with Israel and assume its music scene is quite bare. In terms of historic acts; one has plenty of options. Hadorbanim was an Israeli Disco/Pop/Funk/Rock band who was famed for their howling guitars and spectacular instrumental blends – they even employed a philharmonic orchestra to create some of their songs. They split in 1999 but left the world with three incredible albums. Zohar Argov, considered the king of Mizrahi music, is one of Israel’s most popular talents. Lazer Lloyd was born in New York but spent the majority of his career in Israel. Taught by musicians like Milt Hinton and Randy Brecker; Lloyd’s melting of religion and music was won him many fans. Rockfour, still going, are a Psychedelic-Rock band who writes in English. Influenced by The Beatles and The Who – among others – they are one of Israel’s biggest acts. There are some other legendary artists but it is the new breed that interests me. I have already mentioned ADI. She is a Future-Beats talent who has gained a huge following around the world. She is certainly one of Tel Aviv’s biggest exports – even though she remains there - and is someone to watch carefully. Erez is based in a nation that should not be ignored when it comes to new music. The local press has been a bit quiet for the last couple of years (in Israel) but, they have suggested some terrific names. Tamar Eisenman is a guitar-singer who produces her own work and has a long list of fantastic songs. Hit Me is, perhaps, her biggest track but has plenty of incredible songs to her name. She is based out of Jerusalem and sings in English and Hebrew. Tiny Fingers are the Post-Rock/Electronic groove band who have forged a name for themselves in Israel, the U.S. and Europe. The quartet provides soundscapes – some lasting forty-five minutes – that enchant the listener and has impressed critics. Ethiopian-Israeli singer-songwriter Ester Rada has progressed well the last couple of years and brings a unique blend of Ethio-Jazz and R&B to the adoring public.

Noga Erez is, in my view, the finest artist coming out of Tel Aviv – I shall talk more about the city in a minute. It is unsurprising she is so driven and productive right now. If one looks at some of the more modern artists she is surrounded by; there is enough to suggest Israel is one of the most fertile and fascinating nations for music. Lola Marsh is a band most have heard of. The synchronised harmonies and stunning songs have resounded around the world. They formed in 2013 (in Tel Aviv) and started as a duo – Yael Shoshana Cohen and Gil Landau; they are now a quintet. Sirens, their biggest hit, gained one-million streams on Spotify and has appeared on American T.V. Hoodna Orchestra is an ensemble from Tel Aviv who have free-flowing Afrobeat at their disposal; Middle Eastern flavours and dancefloor-filing rhythms. They are a hugely sought-after live act and make the feet move – gig-goers are helpless to resist the power and prowess of the beats. The band formed in 2012 and released their debut album in 2015 – last year was hugely successful and they are making big moves this year. Vocalist/songwriter Gal De Paz has been labelled ‘Israel’s Janis Joplin’ and is the leader of Rock band, The Paz Band. A fantastic group who have the potential to evolve from local roots and make an impression in other nations; Tigris see themselves as an ‘Afrodelic Power-Pop’ band but, in truth, are a crazy-catchy band that brings together a plethora of styles. They source from Ethiopia and West Africa; Caribbean splashes of the 1970s and contemporary Rock and Electronic. On Shoulder of Giants is an eight-member collective who have a background in Punk, Metal and Jazz. They provide a huge explosion of sounds and colours: one of the most astonishing live acts in Israel and ones to watch. This seems like a length diversion but it shows the type of acts playing in Israel. Noga Erez hails from a city that, not only has a vibrant and consistent music scene, but some of the best venues around.

Barby – down in Derech Kibbutz Galiot 52 – is one of the most reputable Indie-Rock venues in the city. Thurston Moore and Blonde Redhead have played there – a terrific space for upcoming acts and legendary groups.  Zappa Club has outposts in Jerusalem and Haifa that has seen the likes of Hadag Nachasha and Animal Collective play. It is situated away from the hurly-burly of the inner-city (up in the north of Tel Aviv) and perfect if you want some quiet (comparatively) and a wonderful spread of music. Park Hayarkon has hosted some legends in the past – Michael Jackson and The Rolling Stones – and contemporary figures such as Rihanna. Radio EPGB has graffiti-painted inner décor and replicates the flair and looks of New York’s CBGB and brings together well-known artists with the best of the new breed. The Tel Aviv nightlife is bustling with funky beats, renowned D.J.s and bands that set alight the live scene. One can enjoy a film down at Lev or the Cinematheque or enjoy the fantastic history and beauty of the city. It is the live music – from Jazz jams to multi-genre festivals – that sets Tel Aviv apart. Small wonder Noga Erez has taken so much from Tel Aviv and creates such spectacular and immediate sounds. She makes music that unites various different people and has created an enormous amount of affection. It is hard creating music that brings disparate groups together but that is what Erez has done. Maybe it is her range of influences – more on that in a bit – but, I feel, it has something to do with Tel Aviv and the way she works. Certainty, there is something magic in the air (out there) but, as a musician, she tackles songwriting in a different way. There is that fearlessness and bold approach that has already stunned critics. The sounds are never overly-marketable but have that tangibility – keen not to push the listener away with anything too strange and odd. What strikes me about Erez is her blend of Israeli sounds and U.K./U.S. influences. It is obvious her home provides so much impetus and inspiration. From the bustling streets and gorgeous views; that mix of cultures, nationalities and religions – the incredible nightlife and spectacular music that drips from every wall and window.

I shall move on soon but, before then, I wanted to look at something not often mention in music reviews: the music video and how vital that is. Many artists, most, in fact, have to produce them but I wonder how much prominence they are afforded. By that, I am concerned many see it as an inevitable stage of marketing: not expending too much effort and imagination with their videos. It is understandable, to a degree. It is exhausting taking care of all parts of music and it can be difficult finding a budget to create a video that is ‘sufficient’ and impressive. That said; one can produce a video that captures the mind and remains in the memory. I am really interested in the music video and what artists can come up with. It is the chance to do something fantastic and get involved in filmmaking. Look back through the years and all those music videos we love and cherish. For me, I remember those videos that stray from the ordinary and take a lot of skill. I have admiration for simplicity but, thinking about directors like Michel Gondry: his videos are some of the most enduring of all time. The French director has just created a film, Détour, shot entirely on the iPhone 7 Plus. It is worth watching this because; it shows what an imagination and low budget can lead to. Of course, Gondry is famed for his stylish and magical videos – ones that skew visuals and mess with the mind. It is Hard to summarise and define but you need to look at his back catalogue and impressive C.V. Looking at Erez and one gets a similar sense of amazement and originality. Off the Radar, her previous song, was met with acclaim. Not only because of the phenomenal sound but its arresting visuals. "The video takes place at a bizarre sports event where all the participants are weird and eccentric creatures,” says Erez. “We wanted to create a world that shows characters who are trapped in a loop of trying to prove themselves. The judges of this contest are faceless. They express their approval by their moving hands, though you can't really tell whether they like or dislike the performances. It's a very festive looking, yet very alienated world". 

PHOTO CREDIT: @juliadrummond

Directors Eden Kalif and Daniella Meroz add that it “deals with the concept of being judged, and the perceived necessity of having to meet the expectations of others. The characters perform in a ‘competition’ that has no real ending or winner, just like we feel when we put ourselves deep in the race of life”. It is small wonder the video got such a reaction and acclaim when it was unveiled to the world. New track, Noisy, provides a similar treat for the senses. It is a remarkable promotional video that emanates from an artist fascinated by visuals and their power. What I love about Noga Erez is the way she mixes the surreal with fantastical. There are dancers and strange figures; mind-melting, drug-infused trippiness and all manner of incredible scenes. For Noisy; it is more conventional but no less striking. There are dancers and attacks; a confidence that reminds me of Beyoncé and M.I.A. In fact, both artists come to mind when watching the video. Erez, in it, is in command and strutting; she wields a baseball bat and creates a sassiness and vitality that puts me in mind of those legends. The video is different to her previous work but shows a consistency and sense of creativity few of her peers share. I am amazed by the visuals of Noisy and the way the video gets into the mind. Whilst there have been some YouTube detractors – isn’t it always the way there?! – one cannot deny the way the video makes its presence known and perfectly accompanies the song’s lyrics. The track itself, as I shall expand upon, is brimming with passion, prowess and force. It would be easy to make a video that was needlessly brash – with very little imagination and intelligence – but that is not the case with Noga Erez.

I have mentioned artists like M.I.A. already. That is someone Erez takes inspiration from. Aside from that; Björk is someone who has made a big impression. It is hard to say when these artists came to Erez’s mind but, looking at her background, it is extraordinary the way she came into music. She was born four days before the Gulf War started and there was, it seems, no doubt music would be her vocation. It would have been easy to let the turmoil and instability around her derail her flair and passion for music. That way of escaping – getting inside the music and a safer world – was instrumental in her young life. Growing up on local artists of Tel Aviv and sounds she heard on the radio; that has led to a young artist who combines some inspiration legends and fresh sounds. Of course, she is her own boss and not beholden to any other musicians. She wants to, as she’s said, provide escapism and fun for people – Erez is not naïve and knows what importance music has. Not taking that for granted; the way she blends her influences into her own works is deeply impressive. Working in collaboration with her partner Ori Rousso; there is a cerebral quality and curiosity that is loveable and mind-blowing. Yes, there are elements of M.I.A. and fka Twigs; bit of Frank Ocean and Flying Lotuses – acts she takes guidance from – but the individuality and originality reign large. Erez explains how people come from different backgrounds – and can have different stories – but share the same love of music. There is a singularity that can be born from the compartmentalisation of the human experience. Every musician has influences but I am impressed by the range and quality of the names Erez takes from. Kendrick Lamar and Frank Ocean are two of America’s best; there are shades of Tel Aviv musicians and some British idols too. I have mentioned how sensational Tel Aviv’s sounds and artists have made an impression on the wider world.

 PHOTO CREDIT: @chrisssalmeida

I will come to look at Noisy very soon but, before I come to the song, I want to chat about international artists that manage to transcend from local levels and make a name for themselves in the world market. For Erez, she has worked around Israel and spent her formative years performing at some of the best spots in Tel Aviv. It is easy to remain there and take full advantage of the magnitude and diversity of the live scene. Gaining popularity and acclaim; Erez embraced her wanderlust and has travelled the world. Erez has been busy touring and has many great dates approaching – I shall allude to them in the conclusion. It is always encouraging when artists manage to cement a reputation internationally. Critics and journalists are aware of Israel’s music scene but one wonders how effective their features are. I have mentioned some great artists in Israel but how many other people are aware of the country’s music scene? It seems likely those genuine music lovers know about Israel but you’d be surprised. Too much focus is reserved for the U.S. and U.K. – we do not often explore beyond the obvious and different nations. That has to change because, as I have found, being more adventurous leads to some fantastic discoveries. Israel is hardly a new nation or minor one of that: it is a packed and stunning nation for new music. International artists play there and always take something special away. Erez has gained local acclaim but has seen her music translate throughout the world. The demand is there, and so, she has found herself traversing the globe and taking her music to the masses. I hope that continues because she is one of those artists you feel will be hitting the mainstream very soon. The U.K. is a natural base for her and country that has taken Erez’s music to heart. I hope she spends more time in the country and gets requests from other nations.

PHOTO CREDIT: @Yinon fuchs

The opening seconds of Noisy feature a bit of howl and spectral electronics. The song sort of rushing in from nowhere and catches you off guard. There is no huge compositional arrival but the sound of Erez in the spotlight. Her voice is stern and resonant but has some vulnerability and affection to it. “Hold me/I’m just trying to be good” are intriguing opening sentiments that get the mind working in all sorts of ways. There is that romantic possibility but, also, the potential of rebellion and a free spirit – someone who needs to be held back because there is that temptation to strike and run. It seems it is “all talking” at the moment and the noise is quite distracting. There is the need to shut it all off – that sentiment is repeated for maximum effect – and, whether it is a needless conversation or an explosion of sound, it causes the heroine to flee and take action. In the first stages, there are those tribal/bellicose beats that summon physicality and provoke strutting. The listener engages with a funkiness and swagger of the beats; the sheer sway and entrance of the electronics – the heroine up-front and singing with pride and intent. Soon enough, maybe as an ironic nod to the noise and chatter around her – Erez unleashes a repeated wordless chorus that mimics an electronic beat. It stridulates and vibrates to create the sensation of the head spinning and mind buzzing. It is at this point – building from the tension and stress of the opening –the heroine gets involved and strides into the open. Follow the video and one will see Erez joined by some female cohorts. They step boldly into action – Erez wielding a baseball bat – and seem to be confronting a person. The “poor kid in a wealthy town” does not want sympathy or any sort of dispensation. She does not want problems or troubles but is responding to a situation that is causing her dismay and annoyance.

Perhaps, Erez is responding to the way she views music – all noise and chatter without much substance and meaning. She is in a part of Israel that is quite prosperous but not enjoying the same comforts and privilege of many. The same can be said of somewhere like London: different boroughs that vary in terms of their people and wealth. Erez does not want to be understood but she knows this countdown – perhaps the struggle and time it takes to create a music career – is going to be long. She knows all this and is not naïve. Many come into music and assume things are going to happen instantly. This is not the case here: the heroine is armed for the challenge and ready for the fight. Maybe, there is somewhere who assumes she is ingénue and rather young – not quite ready for what is ahead of her. Instead, she is hungry but has a pragmatic and settled perspective. The lyrics have an oblique quality to them and do not instantly allude to a particular person or subject. One can extrapolate what they want and interpret the words in different ways. In my mind; I got the idea of a young woman who wants a lot of success and accomplishment but is entering music at a difficult time. Her homeland is wonderful and vibrant but she is modest and candid. There are those who try to deter her or build up unrealistic expectations; maybe try and get to her or assume she is someone she is not. Noisy builds throughout and gets more intense as it progresses. A lot of Tel Aviv’s finest and most striking young artists mix electronic sounds and beats with elements of other nations. Like ADI; Erez creates warrior vibes and rumbling percussion; together with African beats and British-American sounds. It is a scintillating concoction that provokes all manner of reactions.

PHOTO CREDIT: Ron Kohen

There is, it seems, contractual obligations and issues in music. Perhaps personal relationships are being assessed but, one hears a young woman who is addressing the struggles and realities of music. There might be some people trying to distract Erez and tell her she can’t make it. That endless noise and chatter is getting to her but she is fighting back and brashly reacting. That sense of confidence and physicality is the biggest impression one gets from Noisy. The song is a mantra and anthem from a young woman who is trying to make her own way in music – she is, it seems, having to confront a lot of naysayers and people that are not on her side. Many artists might take it to heart and let it get them down. Conversely, Erez is reacting with defiance and self-pride. She knows it will be a long road but is prepared for the fight and tough days. Maybe I am misinterpreting the lyrics but that is what I get from the song. It is a track about purity and individuality – voices contradicting and trying to lead her stray – and that battle to remain pure and original. Noisy is a typically strong and exciting cut from Off the Radar. Thinking about that album title, in the context of the song, and it might be about a yearning for anonymity and private. Erez may yearn for time to create music and a life she wants to live. That pressure and expectation is on her: leading to tension and a need to speak out. Whatever the true circumstances of Noisy; it is a passionate and fantastic moment from a young artist who is no short supply of confidence and ability. Her L.P. has fifteen tracks and each sound essential and needed. There is no wastage and indulgence when it comes to Noga Erez. Make sure you check out Noisy – and its incredible video – and fall for a musician who has many more years to come.

Off the Radar is the fifteen-track album from Nora Erez – it is a month old and has been gathering some great reviews. That is no surprise considering the quality and innovation she brings to the songs. Noisy is a terrific and bold track that has caught the imagination and made a big impact with critics around the world. She plays the Melt! Festival, in Germany, on 13th July; she heads to Italy at the end of the month. We will hear her in the U.K. on 5th August – as part of the Visions 2017 festival – and she remains in Europe until November. Well, she gets to go back home but it seems there is a huge amount of love for her over here. I see there are few U.S. dates approaching but that is likely to change. Let’s hope cities like New York and Los Angeles come to their senses and get Erez over there. The U.S. approach has provided her some kind words: there is a big fanbase for her music in America and I know that is only likely to increase. I would be shocked were she to remain quiet in the next few years. Off the Radar is an ironical title: the Israeli singer is very much ON the radar and in the mindset right now. I am confident Erez will transcend to rare heights and, very soon, make it as a mainstream artist. She has the potential and the aptitude to handle the responsibilities. I can appreciate the lure and gravitas of Tel Aviv. It is a marvellous city and one that has created so many great musicians. It would be tempting to remain there but I can see Erez relocating to somewhere like the U.S. I know there are opportunities in Israel but, the bigger she becomes, the harder it might be sustaining a career there. The U.S. and U.K. are stocked and capacious enough to accommodate her ambitions and demands. Maybe I am wrong but it would be nice, selfishly, if she moved to London.

I will bring the review down but, before I do, a quick recap concerning some of the points I raised earlier. I want to look back at Israel and Tel Aviv; music videos and creating memorable visuals; bringing influences into your music and why it is important to get under the critical skin. As I said earlier; I have not reviewed an Israeli artist for a while – ADI was on these pages a few months back. How many of us ‘get away’ from the U.K. and investigate musicians from other parts of the globe?! I think we are too restricted and have little time seeing what other nations are producing. Many countries are a bit threadbare when it comes to impressive music. That is not the case with Israel: one of those nations that consistently pumps out tremendous and promising musicians. There are some incredible live venues there and a great atmosphere. The people are warm and friendly; the history of places like Tel Aviv eye-catching and wondrous. I have never been there but must make time to visit the nation. I can see why Tel Aviv is so special to Erez. She is surrounded by myriad sounds – African and Middle Eastern elements; Western influence and all styles – and every genre you can think of. I have mentioned a few Israeli artists that are worth time and appreciation. It is a wonderful nation and one that deserves a lot more time. Noga Erez is one of the biggest exports of Israel and shows the inventiveness and quality of the music emanating from there. I am fascinated by the music videos Noga Erez produces. They are always staggering and skilful. I love Noisy’s video as it is one that differs from previous work but is no less bold and imaginative. Many artists struggle to create enduring music videos and one wonders whether that is an issue with the budget. Noisy is a track/video that does not need a lot of money to make sure it sticks in the mind.

PHOTO CREDIT: Sasha Prilutsky

I am fascinated by music videos and why various musicians chose to create the films they do. The classic videos are notable for a number of different reasons. I have mentioned Michel Gondry already. He is someone who pushes the limits of the mind and can summon something profound and mind-blowing with little budget. Other directors, like Chris Cunningham, are noted for their darker and more disturbing videos – although he has a great emotional range and should not be pigeonholed. Whatever you look for in a music video; there are plenty of options out there. Noga Erez is an artist who grew up at a time when great artists like Björk were hitting their stride. She is someone I hear a lot of in Erez. That same quirkiness and genre-fusing ability. There are elements of M.I.A. in Erez; older artists and legends from the 1970s – plenty of modern artists, local and international, that go into a terrific melting pot. There are few that have such a variegated, vibrant and fulsome set of influences as Erez. It is clear music was a huge role model in her early life. Being born after the turmoil of the Gulf War; the distraction and escapism of music was vital. Erez writes music that helps others escape so that must stem from her childhood. I engaged myself in music from a young age but did not have the same upbringing and circumstances as Erez. I am impressed by the way she can unite disparate sounds and make it sound original and fresh. I will bring this to a close but want to return to that opening point about critical acclaim and how important that is. If some YouTube commentators have been less-than-positive regarding Erez: the critics have been fairer and seen the true potential of her music. There are few as immediate, impactful and urgent as Erez. I know there are artists who take from M.I.A. and acts like that – able to summon the same sort of command and physicality. There is something special about Noga Erez that means her music (and visuals) get into the brain and compel you to follow her career. That career is getting stronger and more impressive by the release. Off the Radar is an album that announces her potential and key strengths. The critics have already shown their affection and, given the fact the album is so affecting, that praise is going to increase. Noisy is a typical cut that proves Tel Aviv’s Noga Erez is…

PHOTO CREDIT: Ori Rousso

AS exciting as they come.

_______

Follow Noga Erez

TRACK REVIEW: NÝNA - Faces

TRACK REVIEW:

 

NÝNA

 

 

 Faces

 

 

9.5/10

 

 Faces is available at:

https://www.youtube.com/watch?v=o-q8L7tCT-c

GENRES:

Electro-Pop

PRODUCERS:

NÝNA; Shemzy

ORIGIN:

London, U.K.

______

BEFORE I come to NÝNA and looking at…

her music; I want to have a bit of a rant. In fact, that is not fair: it is more a series of points but, before the more light-hearted ones, a note to artists. I am getting a lot of requests for interviews and reviews – which is always good – but so many artists are naively assuming they do not have to do a lot their end. What I mean by that is taking little care getting images put online. It seems like my favourite subject, I know, but the problem is not easing. Even me, who does not get interviewed or featured, is capable of putting a series of images online. If I fancied it; I could hire a local photographer and get a couple of dozen good images put online. It might be a simple concept or a more elaborate set: whatever the design; it would give reviewers and interviewers options. That way, they could take their pick of the photos and produce something visually-pleasing. For me, and the way I write, there are a lot of paragraphs – as one will see – so I do require a bare-minimum. I am finding artists with one or two photos come to me for reviews. Even my interviews require seven images so it is no good approaching me if you are not prepared. If I, as a journalist, has to conform to a certain standard – an official website and being prolific – then artists need to get up to scratch. It does not take a lot of effort (or money) to get photos online so why are so many not doing this?! This does, actually, neatly bring me to NÝNA who, pleasingly, is prepared for music and the demands journalists might place on her. Her social media is fulsome and clear; she has lots of photos and ensures she keeps her fans updated. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound.

Let us consider my first point and how instrumental and important it is being visible and revealing. I am not saying artists need to uncover their soul and put everything out there. In fact, holding a certain amount back allows the listener to interpret and guess. The most annoying parts of my role is having to do the work for artists. Many do not put their social media links together – or feel it necessary to have a Twitter account – and there are loads that have crummy images – or do not keep them updated. I know there is a lot to think about if you’re a musician but your career will only endure if you consider every aspect and do not get complacent. I have had to turn people away because they do not have images online. It is sad but visuals are just as important as the music itself. It is no good assuming, if you have a great song, that will be enough and journalists will be happy with that. For me, I need images, otherwise there are lots of gaps and will not be able to put the article up. NÝNA is not someone who takes music lightly and ensures she keeps her sites updated. One gets some great images and lots of information; background about her music and some great details. I shall leave this point here but want to urge all artists to take more time to get photos online and take more care in regards their social media. If I have to go scrabbling for details and links – searching online for their SoundCloud and Twitter sites – it puts me in a bad mood and makes me less likely to feature them in the future. The competitive nature of modern music means those who are insufficient or lacking will find their careers relatively short-lived. Journalism today relies on a certain visual aspect so one needs to be appreciative of that. It seems like I am opening on a rant but it is a genuine concern and observation. NÝNA gets what I am saying and, seeing her social media pages, and there are so many positives one can take away from it.

NÝNA was born in Serbia but has been in the U.K. for a long time now. I am always interested in artists born overseas – that come over here to make a bid of their careers. For NÝNA, she has taken, from her birthplace, a lot of education, memories and experiences. It is understandable she would have moved from Serbia because, compared to the U.K., the music scene is quite sparse. That said, Serbia is not a nation that should be overlooked. It is the southeast of Europe’s Balkan Peninsula with northern plateaus and mountainous ski resorts. Its capital is bedecked with Communist-era architecture and is a beautiful area. One can enjoy opera and ballet at the Norodno Pozorište and is worth a visit, for sure. The country is renowned for its opera and ballet so, if you are inclined, there are ample options in Serbia. Move away from that and there are enough venues for those who prefer their music a little more mainstream. If you visit Čorba Kafe, one will, most likely, be drenched in sweat and have an ‘evocative’ evening. It is a small space but one renowned for its energetic performances and range of genres – from ‘70s music to Metal and Pop. If you are not in the mood, Belgrade’s Vox Blues Club is a more relaxed and sedate environment. It is a magnificent club that welcomes international and local acts – patrons are invited to join in the jams. Bitef Art Café is a wonderful mixture of sounds and styles. Here, one can enjoy World and Classic music – in addition to Rock and Soul. In the summer months, Bitef move their music to the Kalemegdan Fortress. Kombank Arena is a natural stopping-off venue for international acts visiting Serbia; Kolarac University Concert Hall is home to the Belgrade Philharmonic and welcomes all manner of Classic artists. There are few notable Serbian bands but the improvised Noise-Rock of Klopka Za Pionira and Činč - consisting Đorđe Ilić and Luka Stanisavljević – are two notable acts from the country.

It might not seem there is much to discuss about Serbia but there are some stunning venues in the country. It is a great place to visit – the architecture, heritage and mix of people – but it has a rich and diverse music scene. Those terrific spaces – intimate and packed Rock clubs to concert halls – are the envy of most nations; so many international acts have come to Serbia to perform. I can understand why NÝNA wanted to move because, here, we have a larger music economy and better opportunities. That said, she has brought quite a lot from Serbia. Her roots have not left her, so, one gets that Classic influences and balletic/operatic side. It would have been hard to avoid the culture of Serbia when she was growing up. That was, as I will explain, taken to heart at a young age – where she bonded with the piano and a more sophisticated, romantic style of music. That all goes into her current single but, one feels, a British influence has mingled with Serbia. One gets the Classic strands of the nation but I hear Pop and Soul of Britain. It is a fascinating mix and one that marks her for big things. I can appreciate why so many artists would want to come and live in the U.K. – London, especially. It is great hearing such a mixed and interesting group of musicians reside here. Were we to see only British acts reside in the capital; it would make the music homogenised and restrict so much potential. All the big music hubs of the country – Manchester and Glasgow, for instance – welcome musicians from all around the world. Here, in the capital, there are huge venues and so many smaller spots: the artist has so many options and a large and supportive community around them. Let’s hope NÝNA remains her for many more years – as she is someone who seems at home in London and excited to see what the city offers her.

I will come to look at NÝNA’s upbringing, to an extent, but, before then, wanted to talk about honesty. I, myself, am not always that honest and can find it quite difficult. One holds back certain truths and seems to mask their true feelings. For me, I have been concealing quite a lot of pain and doubts – through fear it would alienate me from people and make me more vulnerable. The same is true when it comes to romantic anxieties: harbouring feelings for a certain girl but holding it back to, in my mind, save a friendship from being sacrificed. I guess life, to a degree, is a series of tough mistakes and inevitable frustrations. In my mind, I feel I need to be a certain way as not to offend or keep a certain reputation. It means, a lot of times, I am less happy but go without things like love and affection. Maybe I am doing things the wrong way but feel there are issues when one is too honest – it does not always work out the way you wish. In music, there are problems inherent with being too open and transparent. It is, therefore, always impressive seeing a young artist come through who is willing to bare their soul. NÝNA, on Faces, is not one to hold back. She has encountered a lot and, like us all, had to make hard decisions. Maybe, as I will examine when reviewing the song, she has had to conceal her true feelings or disclose less than she’d hope. What I get from her music is honesty and compassion. It serves as an important lesson for us all: if we are too guarded and hesitant; it means chances will pass by and we might end up hurting ourselves. I guess it is hard striking a balance that means we do not keep too many secrets – at the same time, one has to open themselves up here and there. In musical terms, the greatest ‘honesty’ comes when talking about relationships. This seems to be the number one source of therapy and revelation. I hear so many love songs and, for the most part, they are not exactly censorship and redacted. All the dirty laundry hangs out; the intimate details are published and the artist is keen to have their say. Sometimes, this can come across crass and unwise. There are few who are honest when talking about their problems and true feelings. When one is jilted or heartbroken; there are fewer inhibitions and reasons to remain anonymous. If we look inside ourselves, and address doubts, depression and feelings, it can be a lot harder to do. NÝNA is an artist unafraid to talk about herself – in addition to romantic encounters. That serves as inspiration to other musicians who might feel exposed and vulnerable. One can get that balance right and, as one hears on Faces, it leads to extraordinary music.

NYNA1.jpg

I shall talk about NÝNA’s rise through the ranks but, before then, I want to talk about ugliness. Not in relation to NÝNA, obviously – she is incredibly beautiful and a very striking young woman – but that, in a sense, creates its own issues. We have all seen occasions, recently, of certain artists perpetrating toxic misogyny and unashamed sexism. In the most-recent occurrence, it was a member of The Dickies – a Punk-Rock band – who have been shamed. It is not an issue that seems confined to genre and nation. A few acts, over the past few months, have been in the news for the wrong reasons. I am getting tired of seeing male artists show such demeaning attitudes to women. One sees this and wonders how ingrained and widespread this ill is. Look at the music industry – make attitudes towards female artists – and there is that undeniable sexism. If we allow our male musicians to spew such old-fashioned and discriminatory attitudes – what does that say about the music industry and the way it treats women?! I worry people like NÝNA will encounter this prejudice in the future. I am not suggesting EVERY male artist is sexist but we are seeing more and more artists not thinking before opening their mouths. What is the solution to this Stone Age practice?! We can ban culpable artists from performing and fine them. That would send a severe message to anyone who thinks it is acceptable to promote their twisted and misogynistic agendas. I am concerned how indoctrinated and unmonitored this problem is. NÝNA is a superb and original artist but I have worries when she becomes big and steps out into the wider world. Maybe she will be afforded fewer opportunities – compared to her male peers – and face the kind of provocation that was displayed at the recent Dickies gig. We definitely need to patrol and police those musicians who feel it is okay to treat women as second-class citizens. I shall come back to this in the conclusion but wanted to take to task the male artists who have shamed music. I know NÝNA is a strong artist who is surrounded by loving people but, when she performs more widely, will see have to face these upsetting and shocking scenes?! Let’s hope not but there is always that concern – considering the regularity and severity of these type of events.

Let us talk about NÝNA and her route into music. Right now, she has Faces out, and that comes complete with a fantastic video and great production values – she has linked with Shemzy who brings extreme confidence and a unique touch to the song. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound. Before coming to this point; NÝNA built a loyal online following with her interpretations of others’ songs – including a stirring and original rendition of Hozier’s Take Me to Church and Adele’s I Miss You. These songs, much-heard and recognised, were given fresh light and new personalities. In addition, NÝNA featured in Fortitude and Vents magazines; appeared in Contact Music and got her voice/talents recognised and promoted. I guess the ‘covers route’ is a natural introduction for any artist. They want to test and experiment; see which songs suit their voice and how they will mould their own talent. It is fascinating seeing artists tackle certain songs and what they bring to it. I was, earlier this week, on Lauren Laverne’s ‘6 Music show – as caller on her ‘Biorhythms’ section – and chose, as one of my songs, a cut from Jeff Buckley’s Live at Sin-é. The reason I chose a Buckley song, Calling You (a cover of the Jeveta Steele track), was because of the delivery and difference. It is/was a mesmeric performance that reinvented the song and afforded it fresh nuance, beauty and grace. You should go to Spotify/YouTube to hear that performance – and get the Legacy Edition of the album if you can – because Buckley, more than any other artist, showed little fear when tackling songs. He began doing covers and, one can argue, were it not for performances and interpretations; he might not have become the singer we heard on Grace. NÝNA is an artist who has a similar lack of fear when covering songs. I hear her true self, emerge. She does not replicate the song note-for-note and, instead, brings her own agenda and spin to the track. Let’s hope she continues to cover songs because, I feel, it makes her a stronger singer and writer. That chance to mould and push her voice – and see how it adapts to various genres – has given her the confidence to right a song like Faces.

NÝNA has an itinerant and fascinating background. She began life in Serbia and grew up, one images, on a diet of Western music and local sounds. In terms of Serbian music, during the late-1990s I guess, there would have been few local treasures. Sure, there were bands and artists playing in Serbia but they were not quite as attractive as the artists she would have heard on the radio. NÝNA discovered the likes of Alanis Morrisette and Madonna; bits of Nirvana and, lately, Lana Del Rey and London Grammar. Those ‘older’ influences have grit, legacy and passion; the newer artists emotion, cinema and beauty. Together, it creates a heady and scintillating aroma. It all goes into her own music and gets me thinking about influence and how important it is. My list of influences is impressive and diverse so, if I ever embarked on a music career, I would incorporate them into my sounds. NÝNA lionises strong female artists but has a great affection for all types of music. As a youngster; NÝNA started writing modern Classic music. She found the piano at five and wrote from twelve – I could make a bad time joke at this point – but transitioned to Pop a bit later. One can tie this to her move from Serbia to England. One imagines the Pop music heard in Serbia would have been predominantly British and American. It is unsurprising she was more connected to older, mainstream music than the artists coming through in Serbia. I can hear Classic elements to her music but, now, NÝNA is more influenced by acts like Sia and London Grammar – elements of Lorde and Lana Del Rey combine. Maybe this is a commercial move – more popular and accessible – but one makes a connection between NÝNA’s childhood and the modern mainstream. I like all the artists she is inspired by so, it is no surprise, I bonded with Faces. I feel too many modern artists do not have that broad a range of inspiration. They take from modern music but do not cast their mind back that far. This can create something quite limited and simplistic. For NÝNA, even though she is very young, her influences go back to the 1980s and '90s. Bring that together with of-the-moment musicians and one gets a rich and fulsome blend. Of course, her originality shines through but it is nice hearing elements of other artists in her work.

Right from the off; one gets shots and slams of artists like Lorde, Sia and Lana Del Rey. That is not to label NÝNA’s music but show the urgency, modernity and quality of it. That essential ethos – “Nothing’s gonna break my world” – is put up-front and chanted proudly. In the video, one sees a fast-flowing series of images – some disturbing and hard; others, more defiant and compelling. Despite the challenges and cruelty of life; there is not going to be a barrier big enough to stop the heroine. She, backed by electronics and big drums, lets her voice ring and reign loudly. Faces could refer to the façade and masks one must adopt: maybe, it is about the two sides to a person and the deceit we are all open to. I am not sure but, one think I do know, is how effecting and strong the opening moments are. NÝNA takes command of the song and ensures her words are drilled into the brain. The heroine, elucidating on the title, is engulfed by millions of faces and at the mercy of life’s capriciousness and fragility. There is judgement and expectation; a pressure and anxiety on the street. In the video – one I shall return to when commentating – she sits at a piano as imagines appear on a screen. It is the embodiment of a calm and passionate soul surrounded by the wider world – one that is not as sympathetic and dignified as her. There are people who are happy to offer hostility and brutality. The faces are being seen – of ordinary people and those caught in the rush of life – and feeling the weight and fatigue of modern life. Our heroine is aware of this and share their pain. It is hard dethatching from the realities of life and finding time to reflect and embrace the self. NÝNA is struggling to make sense of  the conflicting emotions and mass of sad faces around her. Maybe that is the reality of the city: it is so fast-moving and packed it is rare finding reformation and happiness. One experiences it here and there but, in reality, many people are busy and are not necessarily unhappy. Perhaps projecting a smiling image is not natural or easy to do.

Regardless; there are people who are struggling to find the good and discover a sense of self-worth. Mindfulness is hard to achieve in a city and busy environment. NÝNA is the same as all of us but is determined to embrace the good inside her and appreciate all she has to offer. One gets a real rush of emotion and physicality in the composition. The piano notes and punctuated and precise but have a romance and flourish to them. Beats and electronics mingle to summon a concrete sense of the city and the modern world. One hears and feels the cracks form in the pavement; the strains and age in the faces – all those upturned smiles and tearful eyes. There is little chance of NÝNA taking control and solving these issues around her – she can “walk away”, as it is said. That might seem submissive but she is not uncoupling herself from humans the world around her. Instead, she is not letting bad things get in and taking life’s realities too much to heart. It is easy letting that stuff absorb in the skin and affecting your mood. Instead, the heroine is pragmatic and sympathetic – that need to give herself a break and discover goodness is paramount. If anything, I would like to hear the vocal higher up the mix. I know how strong NÝNA’s voice is. Sometimes, when the composition is accentuated; the vocal seems to take second-place. This might be a production decision to promote the beat and electronics – ensuring they summon new images and emotions – but NÝNA regains spotlight when the mood is taken down. Softer, compassionate and contemplative: her voice whispers, searches and calms. She has, by this point, managed to throw off many of the ghosts and shackles of modern life. Faces is brilliantly balanced and unexpected. One predicts a certain structure: that never really arrives. Instead, there is a nimbleness and sense of flourish and Classical suite – the song goes through stages and grows.

Towards the final stages; NÝNA brings the chorus into the light and repeats its defiant and strong message. She sings about the pollution, injustice and poverty we all see. Images continue to project and open the eyes. There is, as we all know, so much horror and injustice in the world. The news is full of this but does not really break the skin. The true extent of the world’s problems will never be known: Faces, in a way, suggests we should not obsess over the scale and not let it drag us down. Again, this might seem like walking away but it is the only thing one can do. We cannot solve the problems ourselves but that does not mean we do not care. If one lets all those bad images and stark scenes linger in the imagination – that will have a destructive impact on our lives. Everyone should be conscious of what is happening around them but find balance. NÝNA is connected to the world but determined not to neglect herself. Faces is the sound of a young woman seeing so much upset around her. Rather than let it haunt her bones; she is discovering the potential and goodness inside her. Not many songwriters look at these areas and promote an air of positivity. Many, when talking of love, lose perspective and struggle to realise there are bigger issues happening elsewhere in the world. NÝNA understands this point and, with it, the need to find a way to cope with the realities of life. One is struck by the range and emotions inherent in NÝNA’s voice. She goes from powerful and impassioned – shades of Alanis Morissette, one assumes – to tender and emotive – colours of London Grammar, Lana Del Rey and Madonna come through. Faces is a huge and impressive song from a young talent who has a lot more to say. I know many singles will come but they will have a lot of work to do to equal Faces. It is a song that seems apt for the times we live in. Many of us will struggle to find positive light in the darkness around us – Faces is a song that will linger in the mind long after you have heard it.

I shall leave things here but, before trotting on, wanted to have a look forward for NÝNA and what is approaching. I know there are more releases coming and, as we can see from her social media, people are reacting to her music. It is hard generating publicity and appreciation: it is not always the case music does all the talking. Faces is about dealing with the badness of the world and finding love for yourself. That can be hard in these modern times. We are subject to so much negativity and vitriol; it can be hard embracing the love and goodness that is around us. It is encouraging finding a song like Faces and something that promotes a self-love and worth. That might seem all New Age and hippy but it is actually a very positive and relatable message. How many of us go through life and dedicate time and effort to appreciating ourselves? It can be very draining and tiring going through the day – never much chance to uplift and channel any positivity. NÝNA’s latest track will give inspiration and motivation to many of us. The video for the song is striking and has had a lot of care and effort put into it. It is clear NÝNA is taking music very seriously and ready for the challenges ahead of her. I shall return to my earlier points but wanted to look at NÝNA’s diary. She was recently interviewed at Hard Rock Café and hosts Mada Presents… in London on 23rd August. Lianne Kaye and guests will be performing and it is one of many dates coming up for NÝNA. Everyone from Electronic North and The Drunken Coconut – THERE’s a band name if ever I heard one – have lent their thoughts to Faces. A lot of love is coming in and it seems. I am very pleased for NÝNA and know she will be making some big moves this year.

The summer is approaching – the hot weather is already with her – so it is a prime time to get gigs and festival appearances. I am not sure how may gigs she has later this year but, right now, NÝNA is looking ahead to some cool dates. Faces is out and a tantalising insight onto a raw and unique talent. I will end things by returning to a couple of points I raised earlier: artists who come from the U.K. (to other nations) and sexism in music; honesty in music and influences – I know that is more than two but I meant ‘a couple’ in conversational terms. Serbia, as I said, might not jump out as a musical hotbed of wonder but it is not to be sniffed at. There are great venues – not only reserved for Classical music – that suites the diversity of music one hears in the country. There are European nations that have fairly fallow music scenes: that is not the case with Serbia. It has a rich history of Classic music and some wonderful Opera. Whilst a lot of its modern Rock and Pop is inherited from Britain and America; there are some great local acts that remain in Serbia. I feel many come to the U.K. to find opportunity and bigger crowds. There are limits to the Serbian music industry and it is not really set-up to accommodate ambitious artists. I see a lot of artists emigrate because the country they live in is a little confined. Even acts from Sweden – one of the most productive and astonishing nations for music – come to Britain and the U.S. It is testament to a nation like ours so many are happily settling here. We have some of the best venues in the world and greatest young artists. NÝNA would have been exposed to British music as a child and fascinated by the lure and history of our land. Not that hers was that immigrant-sailing-to-the-new-world scenario but there would have been an attraction to Britain. That desire to embrace her music ambitions is impressive. She is, as it stands, one of the more interesting artists is London – one whom is gaining a huge public support and critical affection.

NYNA17.jpg

Sexism and misogyny are, rather troublingly, aspects of society that are bleeding into music. We need to cauterise the spate of male artists who spit such arrogant and degrading remarks at women. It is not only troglodytes like The Dickies’ frontman who should be banished from music: there is sexism woven into the grain and fabric of the music industry. I can understand how there would have been sexist attitudes decades ago – people were a bit more ignorant and naïve back then – and it was, unfortunately, seen as part of society. We know better now so should not indulge or accept sexist attitudes. We all know female artists are not put on the same pedestal as the men: this is something that need changing very soon. If we want to accentuate the finest aspects of the music industry – the talent, vitality and love we all know it possesses – the dark and seedy underbelly needs to be savaged. It is an issue created by the white man – one they need to eradicate and overcome. I know most male musicians are very respectful and open-minded but it is the minority creating a problem. NÝNA is a fantastic artist who not only creates stunning music – her videos are eye-catching and impressive. She is active on social media and proven she is level to the demands of the mainstream. That transition is imminent you’d think but, when she gets there, is she going to be exposed to the same sexism and indiscretions levelled at her female peers? It is a very present and possible danger and one I am uncomfortable contemplating. Will she be judged upon her looks or overlooked because of her gender? It is quite telling little is being done (by men) to address and stamp out sexist practices. Every artist should be valued and judged on talent and promise – not their gender and colour of their skin. NÝNA is strong and determined but, like everyone, has a vulnerability that does not need to be tested needlessly. She proves how stupid and infuriating the sexist issue is. Her music is among the best you’ll hear this year so, why then, should she have to work harder to get her voice heard?!

Faces was written and produced with her close friend, Shemzy – whom she met at music college a while back. The artistic partnership has blossomed and led to the nosegay delights of Faces’ bouquet. The Baroque-Pop aspects, one imagines, are part of her Serbian heritage and Pop idolisation (as a child). The dense drums and lustrous strings create a happy-sad dynamic that has resonates with many people. There is so much going on and beautiful vocals. The honesty and revelations from NÝNA are the most striking elements of the song. Empowerment and self-love are the mantras and mandates that guide the song to the heavens. One wonders how much of NÝNA’s idols go into her music. Certainty, I can hear the boldness, confidence and allure of Madonna; the emotive and emphatic tones of Morissette and the gracefulness of London Grammar. It all formulates and bubbles in a wonderful brew – one that hits all the senses and gets one thinking. I shall wrap up this review but want people to follow NÝNA and all she does. One of those acts who deserves big acclaim and lots of opportunities. I know there are gigs coming up but there is a lot of love coming her way. People are connecting with her music and a wonderful human. That is it but it has been a pleasure discovering Faces: the start of a productive and wonderful career for NÝNA. She has a stocked and ready arsenal; a bucket-load of talent and the passion to succeed. Those ingredients are reserved to a certain few so it seems inevitable NÝNA is…

GOING all the way to the top.

_______

Follow NÝNA