TRACK REVIEW: GAZELLE - Stay for the Night

TRACK REVIEW:

 

GAZELLE

Stay for the Night

9.5/10

 Stay for the Night is available via:

https://open.spotify.com/track/5ujSLrsAoUcnIxDRzDUVQ2

GENRES:

Electronic-Soul; Pop

ORIGIN:

Liverpool, U.K.

RELEASE DATE:

8th May, 2018

_________

I am always looking around for artists...

who fulfil all my needs and give me something to get excited about. I will talk about GAZELLE in a bit but, before I come to her, I wanted to address a few things. I want to talk about musicians who have a spark and true personality about them; bonding with sounds and curiosity at a young age; the music and legacy of Liverpool; fascinating stories that compel stories and interest; artists who are the complete and real deal; female artists and embracing sounds that are perfect for where music is right now. You look at GAZELLE and read her story and there is something about her. Not only is she arresting and stunning but there is a command and sense of confidence that leaps out and hits you. I will talk about her current single in a bit but, when you look at GAZELLE’s biography and where she has come from; you are drawn in and hooked. I am seeing a lot of artists come through but, for the most part, they are not staying in my mind. It is hard standing out from the pack in such a busy and crowded market. Every day, we are exposed to fresh artists and expected to take it all in and understand what they are about. I wonder whether the fact music is so crowded means we do not retain as much as we should and move on to the next artist. You do not want to move on from GAZELLE! She has a blend of cheekiness and vulnerability that implores you to finds out more and get behind her. There is a certain look and sound the Pop market looks for from its new artists: more and more; new acts are rebelling against that and going deeper and breaking with convention. We are seeing fewer processed and generic artists emerge; acts like GAZELLE add an original spin to the genre and put in bag-loads of personality. I have learnt a little about her but so much is delivered and revealed in the music.

One of the main reasons I feel GAZELLE is bound for big success is the way she adds her personality and spark into the music. Instead of copying someone else or aiming for a certain market; you get a pure and determined artist who dominates her own territory. Apart from a natural beauty and an immense sense of confidence; there is the music itself – it pops from the page and gets right inside the heart. Although Stay for the Night is new from GAZELLE; she has been around a bit and cut a few songs. In the conclusion, I will look at where she might head and what she can achieve this year. I am listening to a lot of older music because of the character and colour I get from it. I love some of the new artists making their way into music but, more and more, my mind shifts back to the music of the past. I look at GAZELLE and see is someone who wants to go very far in the music industry. One receives a real physical expression and delivery from the young artist. It is interesting listening to her voice and the music being produced…you know there is room for manoeuvre and mobility. I hear her sing and one can imagine a natural step to Hip-Hop or Rap; GAZELLE has that love of Jazz so something smokier and more alluring might be possible; she has the ability to step into club-based music and create a Dance smash. There are very few artists around who are able to step into various genres and project so many nuances. Right now, with her single; you have an Electro-Pop smash that is turning heads and getting into the public forum. Maybe my demands are too high but I am disappointed about the lack of real energy and depth coming from artists now. GAZELLE’s history and her present ambitions mean she is truly unique and bound for greatness.

I will come back to GAZELLE’s past and her story in a bit but, right now, a look even further back. We all get involved with music at different stages in life. For me; I think I heard my first piece of music at around two or three – the sounds of Tears for Fears coming from the radio in my first home. It is a spotty memory but the sound of their biggest hit, Everybody Wants to Rule the World, is lodged in my brain. In fact; those twinkling and evocative introduction notes still elicit magic and kiss after hundreds of listens! From there, I fell for bands like T.Rex and was exposed to a lot of Beatles vinyl – building to where I am now and the passion I have. GAZELLE, like many musicians, got involved with Jazz and greats like Nina Simone. In fact…do THAT many people have that great a taste so young? Even though her music departs from the silky and enraptured vocals of Simone; the musicianship, sense of feel and confidence one gets stems from her exposure to Jazz. I can imagine the young girl curiously sat back drinking in all the beauty and genius of Nina Simone. Simone, when you listen to her being interviewed, is a bold and, at times, spiky presence who certainly speaks her mind. I am not saying GAZELLE is anything like that – she seems incredibly sweet and lovely – but being drawn to such a strong figure has influenced what she does not and how her music sounds. The aspiring artist played piano and clarinet at school and fell for all the liberty and opportunity music provided. In addition to Nina Simone, I can imagine other artists coming into GAZELLE’s life. Not to get ahead of the game, but I feel a bit of Ella Fitzgerald and Billie Holiday was there; some Louis Armstrong or Duke Ellington. I can hear the sexuality and fire of Nina Simone; I get hints of the vulnerability and emotion of Holiday; the experimentation and brilliance of Ellington and Fitzgerald.  

In terms of my evolution as a listener; I moved from the 1980s best – and the tastes of my parents – the music of the 1990s. The Dance and club classics of the day are the ones that stick in my mind the hardest. Throw in Grunge, Britpop and all the majesty of the 1990s and you have a broad and eclectic palette. I am not sure how GAZELLE developed from Jazz – she is younger than me – but I can imagine some of the 1990s’ best were thrown into the mix. Like me; the young and hungry artist seems discontent doing anything but music. I can see her, as a girl, sifting through C.D.s and listening to her parents’ music; sitting by the radio and listening to the chart rundown. As the new century broke; she must have been excited to see all the changes in the industry – from the rise of British Hip-Hop artists (like Dizzee Rascal and The Streets) and the more emphatic and bold Dance music that was coming along – like Darude (Sandstorm), Spiller (Groovejet (If This Ain’t Love) and ATB (9PM Till I Come). That mix is a sweatier and more explicit form of Dance/Electronic than one got in the 1990s (where we had everyone from Dr. Albarn, CeCe Peniston and Basement Jaxx keeping us entertained. If you link the two together – GAZELLE’s love of Jazz and the music she would have experienced as a young girl (looking back at the 1990s, too) then you have a heady and rare brew. What I have noticed with a lot of musicians who pick up instruments young is they often move into other genres and dispense with that earlier teaching. I am not sure whether GAZELLE will go more into Jazz in the future but, seeing the talent she has, it would be possible to create an E.P. with traditional and smoky Jazz songs and sunny, rousing Electro-Pop songs. The world is open for GAZELLE and she has so many chances to rule and command.

I will come back to GAZELLE’s timeline but, before then, I will go to Liverpool and have a chat about the music there. I am, in the next few months, moving to Manchester and leaving behind the South. I am looking for the buzz and excitement of the city and the friendliness of the people. Some people do not look beyond London for new music and quality: eyes tend to be blind and we do not quint enough to see the brilliance available in the North. I will chat about GAZELLE and local exposure – it seems Liverpool is a great place for her to make music. Maybe she will sojourn and relocate to London – when artists get big; so many of them come to the capital – but I hope she remains where she is. Liverpool is a great city that mixes cultures, nationalities and tastes. One can easily see the teenage GAZELLE swaggering down town in some new webs and jibbing off some scuzzy lads; having a bifter and ignore the plazzy girls spitting and giving full attitude (I shall dispense with my attempts at Liverpool slang as it sounds completely fake coming from a southern softy!). My point is she has mixed the realness and character of the city with the beauty and culture that stems from every rose, pub doorway and historical monument. I will tip my hat to romantic exposure and song inspiration but, when I was mentioning musical tastes; I was remiss for not mentioning some of the acts based out of Liverpool. More modern – sort of – acts like The Coral (Hoylake lads) and The Cheap Thrills; Clean Cut Kid and Aystar; She Drew the Gun and Life at the Arcade. There are a tonne of boss (sorry!) bands and artists keeping the pure red of Liverpool gleaming and ecstatic. Look at established and legendary Liverpool acts like Cast, A Flock of Seagulls; The Lightning Seeds and Echo & the Bunnymen and there are obvious reasons why Liverpool holds such merit and reputation.

I have not mentioned the biggest Liverpool band of all time: Atomic Kitten…only kidding! The Beatles MUST have been part of GAZELLE’s early life: not because she is in Liverpool but because it is a unanimous and universal taste! When I listen to GAZELLE’s music and the way she expresses herself; I can hear her native tongue and shades of the mop-haired foursome. That might sound like a stretch – my ears are Vulcan-like! – but listen to an early slice of vinyl like Please Please Me (an underrated work of genius from the boys!) and there is SOMETHING one can compare between the 1963 release and what GAZELLE is doing now. Look at all the experimental bands and acts of Liverpool and the great Pop and Rock being made right now - ALL of this goes into her work and demeanour. I sense the young artist can go in any direction she likes. Her Jazz background, tied to Electro Pop could take her down one path; she could easily score a modern Pop jam or something impossible sensual and smoky; some fierce and knuckles-to-the-ceiling rave; a princely Dance banger that has people jumping and hemisphere shifting - the world, as I say, is her oyster! You look at great venues in Liverpool such as The Zanzibar Club, 02 Academy Liverpool; Kazimer, The Caledonia and The Shipping Forecast and there is a solid local foundation. Whereas many venues are closing in London and other parts; it seems the economy and loyalty of Liverpool is preserving venues – apologies if my local knowledge is flawed and any of these spaces have had to close their doors! I can imagine GAZELLE has played these spaces – or some of them – and is keen to explore everything the city has to offer. Toss in Sound City 2018 (that ran between 5th and 6th May) and it seems, I hope, a lot of eyes are turning the way of Liverpool. The aspiring artist has little reason to leave the people and passion of the city…maybe London’s assets and musical wealth will tempt her down?

I will end the introduction section by looking at female artists but, before I get there; I wanted to look at GAZELLE’s life after childhood and her time in France. I am not suggesting her time there involved a lot of drinking, adventure and wild nights – you picture a young woman moving to a new country and exploring every elicit and sexual thrill – but there was an unhappiness when she first moved there. She studied Chemistry during a university exchange of Versailles. The locally-placed Hall of Mirrors (in the Palace of Versailles) would have been an ironic and vivid revelation: the reflection staring back would have been an unhappy and displaced one. Whilst GAZELLE was acclimatising and trying to settle into a new landscape; the revelation of a desperate cry - Sauve mon âme! – meant she joined an underground art commune. This is what I mean about GAZELLE: she already has the life and characteristics of a Jazz legend! France, inevitably, plays a part in anyone’s life who loves Jazz. It seems the passion and the openness of the people embraces Jazz/Jazz-minded more than anywhere else. I could easily see GAZELLE’s life and upbringing turned into a biopic! She would spend her nights singing in a band and working as an Au Pair during the day. She taught herself guitar and fell for Electronic artists like Jamie Woon and their ilk; captivated by new beats and the language of love. This heady concoction kept her buoyant and satisfied. Rather than the cliché chemical and sexual experimentation one would associate with an underground commune – French, at that – instead; you get musical curiosity and a formative moment for the Liverpool songwriter. When she returned home and got her feet back under the table; that new exposure led her to tackle local bars and play guitar there. Acts like Lauryn Hill and India Arie – Gregory Porter and Erykah Badu, too – were new idols and helped craft that unique vocal style. That sort of takes us to now and where the young artist is. She has had that exposure and rare upbringing; an assortment of experiences that all go into her spectacular and rare treasure chest.

Before I get to the song itself; I’ll quickly touch on song inspiration and female artists. There is an ongoing argument that festivals and gigs are not featuring enough women in their line-up. I agree there is oversight and more needs to be done – are tastes and festivals trained towards men; does music favour male artists?! I feel there is that culture where we assume there are few female artists and the biggest draw will come from men. That is wrong because, as you look out, there are so many incredible female artists ready to explode! I feel there is still that sexism and naivety that means ignorance rules and so many great female artists are being overlooked. There are strong role models working away but is there enough reinforcement?! I wonder. GAZELLE is someone who can add her voice in the market and help affect real change and movement. She can handle the pressures of the big stages and has music that we all need to hear. She is getting some great gigs and opportunities right now but I wonder, when she gets proper-big; will the festivals look towards men?! I hope things change real soon. Stay for the Night is inspired by a friend of GAZELLE and a sort of love at first sight (I do not believe in that so let’s replace ‘love’ with ‘attraction’) experience. In an interview I conducted with GAZELLE; I asked about the inspiration behind her new song:

“…My mate met her boyfriend at Leeds festival a few years ago when we were there together. I find it so much easier to write about very specific experiences. The lyrics tend to be far more descriptive that way.

I think the exact story was that he spoke to her in Welsh in the middle of a crowd and she happened to know one phrase in Welsh which was “Shut up and go to bed”, which she replied with (and the rest was history). Pretty funny. I didn’t manage to get that bit into the song, unfortunately”.

That is a rather charming and lovely story one does not hear too much of! I guess we all have opinions of modern love and how people come together. I asked GAZELLE whether she has had that same spark and festival attraction. She has, like so many, caught eyes and felt that rush – there is that fire but, sadly, nothing materialised into romance. Being at a festival and surrounded by thousands of people; there are countless chances to meet someone and have that blossom of love – or the one night of sex and not going from there. I am glad this story is more than sex and the physical: there is something more material and long-lasting about the festival sweethearts! I am not sure whether the two are still together but it is a perfect inspiration for a song that has a unique eye. It is fitting that a song that could score festivals and summer gigs talks about two people meeting at such an event. Love and relationships often inspire songs and fine moments: maybe, when more material is out, GAZELLE will look at her own lusts/experiences and put them into the music.

I have listened to Stay for the Night a few times now and get a fresh blast of revelation each time I do. I am not sure whether there will be a music video for the track (there should!) but I can imagine GAZELLE and her friends chatting and dancing to the music whilst, across the way, her mate spots the boy – eyes lock and their seduction and connection follows the music. In fact, I can see a Michel Gondry-like video transpiring. The conversations and dance would be in time to the music and it would be a single shot – the camera never loses eye contact – with the sweethearts moving from scenes and locations (at the festival) whilst the night draws in. Rather than leap ahead and pitch the video myself – I might as well direct the bloody thing; such are the ideas coming to mind – you listen to the song and can present your own visions. The track wastes no time getting underway and making its presence felt. There are burbling and bubbling vocals captured under the jar of electronic heat. A warped and processed sound projects images of festival rush and excitement.  The song has that energetic and rousing chest that struts forward and brings the heat. You listen to the first notes and get that view of sunshine and bodies enraptured by the music. When the heroine comes the microphone; you get a soulful and rich voice that has chocolate, sensual entice and commanding tones mingling together. She recounts the story: the girlfriend saw the guy as their bodies were swaying in time to the music. With her lemonade-tinged drink and coffee-brown eyes; the petite woman leapt towards the boy and made her introductions. GAZELLE presents the scene and dynamics splendidly. You get those fine details (the drink and colour of eyes) but are left to explore and wonder other details – which band were on when that meeting happened; where were they exactly. It gives the song a mix of obvious and open-for-guessing that excites me hugely.

The composition is kept fairly unobtrusive as the heroine speaks about that flame and kismet. In the sun, they “started something beauty” and danced the whole night through. That chorus implore – to stay for the night; if only for tonight – comes in and is delivered with intensity and romance. There is less of the cheap thrill – getting your rocks off and having that thrill – and more of wanting to keep the conversation flowing. They have that instant attraction and do not want to leave things. In a way, you have a modern love story that reflects classic films. There are two people natural for one another and bonding over music and common traits. They could go their own way but they do not want to squander something special. GAZELLE, as narrator, reflects this physicality and perfectly articulates the emotions evident from the off. You get funky guitar flecks alongside soulful beats and clicked percussion. The music dissipates as the man kisses the woman on the forehead – they are leaving things where they are but it seems the opposites are attracted. Whereas they danced all night; you wonder whether it was fun in the moment but things are not destined to go past that. It is fascinating seeing all the elements brewing in the song. You start with that Electro rouse and bang before mutating into Soul and Jazz. GAZELLE’s voice is the instrument that stands out the loudest. She has the soulfulness and addictiveness of Lauryn Hill and an instancy that gets into the heart. She can change her tones and projections when the music calls for it – moving from rampant and physical to heartfelt and passionate. Stay for the Night takes the listener into the scene and the dialogue between the sweethearts. In a way; the song is the start of a concept E.P. that needs some answers: did the two remain together (you assume so) and what happened after that first night? Did they start dating soon after and where are they now? The listener will have those questions and want resolve. It is a fantastic track perfect for summer and the busy festival crowds. GAZELLE has entered a competitive market and already managed to stand aside with a stunning and intense cut. Her voice is the magic ingredient that puts the song into the stratosphere! The way she handles and treats words gives the song a realness and sense of personality. You will come back to Stay for the Night time and time again; compelled by various aspects and learning something new each time!

I will end things here and leave you all be – I hope my words have done justice to GAZELLE and what she is all about. I know there have been other moments in her cannon but Stay for the Night is where she is now and her declaration into the world. She has just played BBC Introducing/BBC Merseyside and will be in London on Wednesday for a live Facebook session for Pirate Studios – I might be in the area at the time. GAZELLE has been busy being interviewed and promoting her new track. A lot of new people are turning onto her and the future is very bright. I am not sure what she has planned in terms of touring and material but I can imagine there are those great local gigs and stuff down in London. I can imagine her getting spots further afield and a proper U.K. tour coming together. In terms of material and new stuff; I would like to see an E.P. from her. GAZELLE has such a broad taste and ability – an E.P. from her could be all-Electro or throw in some Jazz and guitar music, too. The striking songwriter is getting ready to attack the summer and, with that, festival demands will be close. I would like to see more people take to her music and give her the stage to shine and resonate. There are wonderful artists out there but none that have the same characteristics and contours as GAZELLE. She is that rare type of human being: fascinating and compelling and born with natural talent and confidence. All of this comes through in her music. I am not sure whether the young songwriter will want to see how Stay for the Night fares before making her next move. Whatever she plans - maybe a quick break to recharge the batteries! – it will be fascinating to see! Stay for the Night is a song that shows GAZELLE, in a good way, is on her bill (sorry – last slang from me!). She occupies a rare space that will inspire other artists and shows, in GAZELLE herself, we have a musician who will…

BE around for decades to come.   

____________

Follow GAZELLE

Twitter:

https://twitter.com/thisisgazelle

Instagram:

https://www.instagram.com/thisisgazelle/

Facebook:

https://www.facebook.com/thisisgazelle

SoundCloud:

https://soundcloud.com/thisisgazelle

TRACK REVIEW: Hollie Haines - Except for You

TRACK REVIEW:

 

Hollie Haines

Except for You

9.3/10

Except for You is available via:

https://soundcloud.com/hollie-haines/except-for-you

GENRE:

Alternative-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

30th April, 2018

_________

THIS review…

holds significance as I am in a similar position to Hollie Haines. I will talk about her relocation and the doubts she has. Before I come to that, I want to look at artists who bring sunshine and can lift the mood; making amendments to Pop and Folk; concepts and artists doing something interesting in music; why we need music like Haines’ in the market right now; where the talented songwriter can go from here – I will also touch on influences and evolving music. I want to start by looking at sunshine and a more optimistic mood in music. One cannot accuse Haines of lacking spirit and optimism. Sure, there are songs that are a bit more downbeat and contemplative but, for the most part, her glass is half-full. Her track, Keep Moving On, was lauded because of its infectious tones and joyous nature. Although Except for You is not quite as radiant as that effort: what we do see is a musician who always brings something redemptive and forward-looking to the plate. I will come to the song in time but find it interesting that there are very few musicians out there who bring anything positive into their sounds. I am seeing Pop artists coming through but I am looking at the lyrics are there are few who keep things light and offer anything happy. That might seem like a natural state of affairs: most of us have troubles and music is a natural and easy way of getting it out to the people. I can understand the confessional nature of music and why it acts as a comfort and shoulder. Those who go further and provide a sense of shine in their lyrics should be commended. Hollie Haines is a young woman who faces all the same tribulations as her peers: she will/would have had her heart broken and goes through stressful times; challenging situations and doubts about her career and self.

That is to be expected but, rather than lay it out all there like a dead cat stuck in a heating vent; she assimilates those harder questions into the mix but sprinkles in plenty of vitamin C, chocolate and alcohol into the potion – sounds like a disgusting mix but, for the purposes of metaphor and the visual, let’s go with it! I am impressed that someone so young has that desire to improve the listener and put them in a better frame. It seems rather explicit but, as I am writing about him this weekend, Scott Hutchison (of Frightened Rabbit) is in my mind. There has been a lot of sympathy and condolence following his suicide. Few knew about his state of mind – it came as a huge shock to many when news of his death was announced. It goes to show there are those in music – and life – who are struggling and need assistance. Music, to many, is a sense of therapy and help. In a rather difficult and sobering time; I am looking out to the world and looking for something that comforts and aids me. That is what one gets from Hollie Haines. Her music provides a perfect time to escape, reflect and feel better. I have been listening back at her material and finding the sunshine, smile and hug needed to get through things. One cannot underestimate the power and potency of having music like that in the world. I am not suggesting something as basic as positive music would have helped Hutchison in his darkest hour: what we do have, in songwriters like Haines, is a ray of light and someone who speaks for us. She has endured harder times and obstacles along the way. Her words are deep and redemptive; her voice pure and passionate; the compositions are stunning and nuanced. I have been looking for a songwriter who gets every box ticked and make me think. I get a relief and happiness listening to her; a way of easing any burdens and channelling all those negative thoughts somewhere safer and far-off.

Let us look at the genres of Pop and Folk and where they are right now. I have written about both over the past few months and seeing artists do something different and exceptional. Pop, to some, has the image of this sugary and commercial thing that is all processed vocals, inane lyrics and forgettable moments. Folk is seen, by some, as rather plaintive, boring and tame. I do not agree with those assumptions and have a lot more affection for the genres. I do agree there are flaws in Pop at the moment. Too many artists are going for streaming figures and something popular – rather than expending any effort and doing something different. Folk is not as integrated into the mainstream as it should be; there are artists pushing boundaries but dominance is still quite a few years away. Hollie Haines’ music is Alternative-Folk and mixes in Pop elements. I feel there is a lot to love about her music and what she is doing with the genre. Rather than present and play the rather tepid and beige form of Folk that we can hear out there – all finger-picking and calm breeze – she adds something energised and affecting. I have been following Haines for a bit and seen the way her music has evolved. If we keep genres stiff and do not move them forward then that means we are in danger of seeing them die out and lose their inspiration. Pop has had its moments and great times – right now, things are changing and it is becoming more mature and self-reflecting. Folk is challenging for attention and moving away from the one-dimensional and simple sounds we associate with the form. Haines is a bright and engaging songwriter who grew up around music and sprinkles in different elements into the fore. You get classic Folk strands alongside modern Pop and her own D.N.A.

I am always looking for artists that go beyond the predictable and offer progressive and fascinating music. I am a big fan of Folk music and have been following it since the 1960s – musicians from there; I am not THAT old. What I have noticed is how it has mutated from the acoustic-led and calm sounds we jump to a more expansive and broad fabric. Now, in 2018, we have Folk artists pushing boundaries and integrating other genres together. Haines is getting stronger with every release and putting her own identity into the market. I have been looking around and trying to align myself to artists who do something different and go out of their way not to follow the pack. Haines is an artist who could easily negotiate and compromise. Rather than parrot the masses; she is creating unique music that stays in the mind long after it has been heard. I will move on to other topics but I wanted to look at the changing nature of Folk and Pop. Looking forward; I know Haines will continue to make fantastic music and seduce audiences. It is difficult easily defining what Haines does. She plays Alternative-Folk but there is so much more at work. One gets soulful vocals and something spikier; there is that sunny Pop brew but you even get some little kicks of Reggae – not explicitly but in nature and vibes. I am interested seeing where she goes now and what the future holds for the talented songwriter. Not only is Haines’ music addictive and stunning; she will inspire others to get into music and show what you can do with genres like Folk. Many are put off from exploring a genre because artists do the same thing and do not add their own personality into the music. Hollie Haines is different: she goes further and ensures not only is the listener stunned and hooked; other musicians are giving direction and an idea of what can happen if you truly push yourself.

One of the reasons I wanted to look at Haines’ newest song is because it forms part of a song arc. It is part of a concept that has intrigued me. Like the stages of grief – ‘acceptance’ and ‘depression’ are in there: I forget the rest! – there is something real and relatable about Haines’ mission. She is addressing loving, losing; hurting, missing; healing, letting go and loving again. It is a story that is bookended by love and finding something positive. Keep Moving On showed what Haines was capable of and how her music could lift the spirits. Her story arc begins with love and finding someone in the form of Except for You. It is a hauntingly beautiful and crystal-clear song that finds the heroine putting her heart out there and finding something pure. Maybe it is not as vibrant as previous material but there is that aspect of moving forward and looking to the future. Songs along the way will look at loss and hurting; missing someone and having to let go – before coming back to a new love and discovering fresh hope. Haines is putting out a new single each month: Except for You is the first step and a chapter that begins a remarkable and everyday reality. Many people would have gone through the same experiences as Haines. That is what I mean when I said she speaks for other people and brings something hopeful into the music. Although things will get a little darker down the line; the way Haines writes is to find some hope in the shadows and move forward. Even though her current single prides beauty and entrance over serotonin and rush; you have a song that puts your mind somewhere beautiful and relaxes the tensions. Everyone will be able to understand where she is coming from and what she is going through. I have seen a few songwriters try something ambitious when it comes to single releases and concepts. The completed album, that will include all seven songs, will be interesting to hear. Having the introduction out into the world gives you a flavour of what to expect: knowing Haines’ music; one realises you can never predict and assume the next track will be exactly the same as the last.

Many artists try concepts and get ambitious with their music. That might take the form of something unusual and everyday. If you have a concept in mind and want to do something different in music then it can be hard convincing the listener. I have seen new artists release E.P.s that run the mind through a story of a narrative arc. It is fascinating seeing musicians who take a risk and go that extra step. It is fine releasing singles that form part of an album – with no cohesiveness in terms of their themes – but I like those acts that do something new. I know many albums are defined by a certain tone or story: how many artists do something like Hollie Haines and release singles in the same manner? Not only does the listener gets a nice teaser and is compelled to follow the story all the way to the end; we also get a different vibe and sound with every track. I wonder who it is Haines is talking about when she looks at that new love and finding something pure. I have been thinking about other forms of discovery and revelation when it comes to Except for You and what it stands for. I will come to that in a bit when I look at the song itself. One other reason I wanted to look at Haines and her newest track is that of where she has come from and what she is tackling now. I have heard previous work like The Walls I Built (E.P.) and can see how far she has travelled. She is in a different space right now and looking to the future. Not only has her confidence increased and her songs strengthened; she is taking risks and doing something genuinely exciting. That rate of progressing means, in years to come, she will be tackling the mainstream and mixing it with some of the biggest artists out there. I cannot wait to see what form her singles take as we follow the story through the coming months.

We need to celebrate artists like Hollie Haines in the market because she is doing something new and resists the temptation to do easy and obvious music. I know she will want to get along and succeed in the business but that is not coming at the expense of limiting her scope and narrowing her mind. I have seen some promising acts come along and show early signs of promise. Haines has been tipped by the media and (her songs) have resonated and connected. That boost and backing have given her the confidence to conspire and take big steps with her next venture. Because of that celebration and faith, we have seen Haines explore new ground and set her sights to the future. I want people to back Haines because she has that perfect blend of ingredients one does not find too often. The vocals are wide-ranging and have so many different emotions within them. Her lyrics are personal and meaningful but they can be appreciated and understood by everyone who listens. Rather than push away the public and create something that is only meant for limited enjoyment; Haines writes from the heart but puts it out there for everyone to investigate. You can hear one of her songs and feel like it was written for you. It might not be about love or losing someone in a relationship. You can extrapolate meaning and familiarly whatever you are going through. The ‘complete package’ is something you hear linked with a few artists. I hear that said and wonder whether it is exaggerated or a bit premature. The fact Haines can have that applied to her is no exaggeration. You have the sumptuous and extraordinary voice that can convey sadness and loss but get right into the heavens and bring the sunshine out. There are those changeable and interesting compositions that move from pure Folk to something approaching Pop. One also gets lyrics that step into the avenues of love and loss but can angle into other climbs. Her personality is bright and bold; she has an energy and passion that is infectious and endless – everything you want from a modern-day artist.

I will get to reviewing Except for You soon but, before then, a look at taking a leap and moving to a new area. I am in the process of doing the reverse of Hollie Haines: moving from the South and going to the North. She had questions and doubts when she moved from Leeds to London. I can understand why she was reticent about leaving Leeds and going to the capital: many have spoken fondly about the Yorkshire city and its people. There is great music up there and plenty to love. It is hard getting rid of all that and moving somewhere different. London is bigger and more packed than Leeds; it is a long way away and it is a gamble moving somewhere to make it in your chosen field. For me; I am moving from the South and hoping to get myself to Manchester. London has always been my first choice but I have found few opportunities arrive. It is difficult being able to afford life there and remain sociable. It is hard finding the money to remain there and balancing that work-life agenda. Haines is in a stronger position and is doing great in the city. For me; moving to Manchester has all the benefits of London – the music and energy – but it is a more affordable option. Aside from having to balance things and transition there – finding a job before I get there and being able to spend as little money as possible scouting – it is an interesting and needed move. Haines moved because she wanted to get her music into the spotlight and find more chances. There is a great scene in Leeds but it is a long way from London. A lot of the best artists from Leeds have moved to other places and looked for greater focus and audience. Hollie Haines had great local appeal back home but now, when she is in London; there are those bigger venues and new horizons.

Many people will be thinking of moving and want to find a new life. For those in the music industry; you need to go to other places and where the action is. Haines has realised most eyes are in London and that is where most of the chances lay. Many have gone to the capital and found life a bit hard and expensive – they have left and moved to other areas. Haines has seen her music taken to heart and realised how far it can go. Now, down in London, she has the chance to get into the mainstream and get under the radar of the big labels and venues. I am not sure how many gigs she has coming up but I know the summer will be busy for her. It is exciting looking at Haines and where she is heading right now. I can see her going very far in London and taking advantage of all the city has to offer. Right now, she is penning her album and getting songs out there. Venues will come calling and fans will want to see her perform and put the songs into the ether. I am not sure which part of London she is based in but I know every corner of London will take her to heart and celebrate the music. The coming years will be the most interesting. Now she has relocated and is settled somewhere new; there is that curiosity and desire. Haines is a hungry performer who wants to put her music out and connect with her fans. I know she will be looking further than the U.K. when it comes to gigs. I see no reason why she cannot get her music to European audiences and, soon enough, get some U.S. gigs lined up. I can see the Americans vibing to her sound and really getting a kick from it. The future is bright for Hollie Haines and it seems she is determined to take her music as far as is possible.

Ahead of the next song in the cycle; we have the exceptional and stunning Except for You. It begins with yearning, gentle and rousing strings. The guitars rumble and there is a sense we are walking through town in the night. Things are still and the brooding strings get the mind thinking of imagining. The soft and inviting mood is a warm water you immerse yourself in and wonder what happens next. There are possibilities and visions that come to the mind. Maybe it is the symbol of the heroine embraced in a passionate moment or sitting on a window ledge and looking out at the horizon. The composition conveys so much feeling and passion from the opening seconds. It is interesting hearing the vocal come in because it has a rather distance and haunting quality. Rather than being polished and top of the mix; the vocal is a little further down and sounds like the heroine is singing from a distance. It gives the song a lot of gravitas and sense of the physical. You can imagine her calling from afar – there is a dream-like quality that has a haziness and sleepiness. Our heroine is talking about everyone else leaving and that one person being faithful. It is challenging keeping love and finding true companionship. It seems friends and those close to her have departed or let her down. Rather than give up hope and assume that is the way things are; Haines has found that loyalty and trust. Maybe the love is established and enduring: it might be a fresh romance and something that has come at the right time. Haines is reacting to that faith and glad she has someone who is sticking with her. Lamenting at those who have fled and why people are leaving; you wonder why this has happened and where she is heading. Maybe the heroine has been through some bad relationships and been scarred in the past – a look at those who have abandoned her and broken her heart.

Those ethereal and spectral backing vocals give the song shiver and a rare beauty. I can see why some have compared Haines to the likes of Laura Marling – there is a bit of Enya in there, too (in a good way). The heroine has given her heart to someone and that has been repaid. Rather than run when things get hard and leave her in the cold; the sweetheart has remained true and provided that rock. Everyone else has left and they have caused Haines hurt. Her love has stuck loyal and there are signs things are going to ensure. Knowing how the story will develop and end – the heroine losing that love and having to deal – you cannot help feeling a little bit sorry at how things will go. In the moment itself; Except for You is a moment of serenity and passion that gets into the head. It is amazing to see how Haines can switch mood and the variation she has. She has produced intense and energised moments before but here, on her latest offering, there is a stillness and beauty that still manages to have that hope and uplift. Rather than cheapen the sensation with fiery choruses and chirpiness; we have a song that digs deep and gets into the bones. Strings dive and weave; there is a romance and sense of elegance that causes shivers and smiles at the same time. It is wonderful hearing how the background impacts the centre. The ghostly and tender vocals fuse with the strings and push the heroine forward. The lead vocal has that seduction and beauty that is hard to shake off. The fact everyone else has left and her lover stays true gives her hope things will work out well. It is almost like a cliff-hanger in a way: Except for You has positivity but you know things are going to change. I have loved experiencing Hollie Haines’ latest release and how far she has come. It is an impactful, stunning and deep offering from an artist who keeps getting stronger and more ambitious.

Many have compared Hollie Haines to the likes of Marika Hackman and Laura Marling. There is a little of those artists in her own tones. You get the depth and intelligence of Marling with the verve and youthful ambition of Hackman. It is always hard comparing artists to other because the music is always changing and few musicians stand still. Haines has her own sound and it is delightful seeing how she progresses and what comes next. I have said how Except for You is the start of a seven-song cycle that looks at love and new hopes and then has to accept the breakdown and coping with loss. Things will end with the positivity of a fresh love and new starts. In many ways, that story seems to reflect Haines moving from Yorkshire and settling somewhere new. She has experienced loss and change and it has affected her greatly. It is hard leaving somewhere/someone you love and having to start anew. What is most daunting is losing a life that seemed stable and full of potential. Her story and music will reflect in other people’ eyes and give them heart. I have mentioned how Haines is someone who keeps the mood up and always looking forward. Even when she has to tackle loss and cope with being alone, there is never the sense she is in a pit of despair and things are hopeless. You get that desire to get out of the rut and find something positive. Previous songs have shown she can mix explosive and sunny with something a bit more emotive and moonlit. That is the sign of a songwriter with a broad and developed sound. I am compelled to see where Haines goes from here. It will be a very exciting and prosperous time for a young talent who has already won hearts. Get behind Hollie Haines and follow her every move. She is a rare songwriter who has come a long way but…

PLANS on going a lot further still.  

____________

Follow Hollie Haines

Official:

https://www.holliehaines.com

Twitter:

https://twitter.com/holliehaines

Instagram:

https://www.instagram.com/_hollieh/

Facebook:

https://www.facebook.com/holliehainessongs/

Spotify:

https://open.spotify.com/artist/3TmWI5f479FgFtRzEcs6DA

SoundCloud:

https://soundcloud.com/hollie-haines

YouTube:

https://www.youtube.com/channel/UCKPCi6Ka9bo-25VmJavrNxg

PHOTOS OF HOLLIE HAINES:

Mara West

TRACK REVIEW: Rory Cannon - Vital Signs

TRACK REVIEW:

 

Rory Cannon

Vital Signs

9.3/10

Vital Signs is available via:

https://soundcloud.com/rory-cannon/vital-signs-1

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Nottingham, U.K.

RELEASE DATE:

16th March, 2018

_________

THIS time around…

I am looking at an artist who is producing some wonderful sounds and is someone who deserves big acclaim. I shall chat about Rory Cannon in a bit but, before then, I want to investigate a few other things. I want to look at atmospheric, acoustic music and why it should be heralded and elevated this year; the Midlands and why it is an area that gets overlooked; artists you’d want to get out there and see tour; music that soothes the imagination and calms the body; a little about evolving music and embracing everyone – finishing by looking at where Cannon might go. What interests me about Rory Cannon is his style of music and how rare it is in the modern scene. When you look at artists out there and what is happening in the music world; there is still an emphasis on the more sprite and fizzy style of song. That sounds rather crude and simplistic but I listen to the radio and tend to hear more uplifting and energised songs. That is what many people go for: they do not often look for something more downbeat or calmed. I listen to Rory Cannon and have a great sense he will go far and something great is going to happen. It is quite a challenge going out into the market and delivering music that has quite a seductive and deep sound. There are acoustic artists out there but, for the most part, you tend to hear few on the big stations. Cannon has a Folk songwriter who immerses the listener into his world and reminds one of the greats of the genre. I want to hear more radio stations concentrate on artists away from the charts; those who produce music to make you think; something evocative and settled. There is plenty of passion, emotion and drama in a song like Vital Signs – a track that could score any mood and eventuality. I am hearing a lot of Alternative acts and chart-bound artists but few of them really resonate and remain in the mind.

Maybe this is down to the rush and quantity of music we are exposed to; it might be the nature of the songs – delivering something instant – but I feel we are always looking for sounds that lodge right in the brain and we do not have to think too much about. Cannon is someone who will find favour among Folk stations and get airplay on those stations with broader minds. I wonder how long it will take before our bigger commercial stations begin to embrace acoustic music more. Aside from a few artists – the likes of Ed Sheeran – there are not that many finger-picking acts being spun on the biggest stations. Maybe we are all looking for music that puts us in a better frame of mind and gets us moving. The reason why I feel acoustic music needs better regard is the fact it can ease our stresses and provides fascination, beauty and allure. If we balance this type of music against the usual fare; I feel we will be broader-minded and more rounded as listeners. Look ahead to the future of music and we have to wonder what is needed in order for it to sustain and inspire. Music will always be around but I fear the stations with a wider remit are less popular and heard than those who feature similar and commercial music. One cannot object to people’s tastes but you have to question why the music of the charts is being given greater credence than music with greater nuance and musicianship. Rory Cannon is a man who puts his all into music and wants his music to connect with as many people as possible. That ethos and ambition deserve reward and applause. I listen to acoustic music and find myself more involved in the music. I am powerless to imagine what is being sung and where the song is heading. You can say Rock, Pop and other genres are powerful and instant: I feel Folk and acoustic-led music is much more affecting, long-lasting and emotive. I hope stations broaden a bit and start shining a light on artists like Rory Cannon.

I want to come back to this point but, right now, let’s look at the Midlands and why we need to look over there. I often talk about London and why we concentrate here. It is the capital of the nation and, with that, houses all the biggest labels, studios and artists. That is fine but that does not mean we have to focus entirely on this part of the world – there is a rich and full nation of music for us discover. I have been campaigning for parity and greater awareness among listeners and journalists. What we need to do is keep London high in the thoughts but look elsewhere and experience all the U.K. has to offer. I have talked about the North and all the fantastic musicians in cities like Manchester and Liverpool. Many people know of the Midlands’ music but how often do we see artists from here featured in the big publications and websites? Maybe there are fewer big-name artists from here: plenty of new musicians with heart and promise are performing around the Midlands. Rory Cannon is a Nottingham-based artist and is in a city that has its fair share of wonder. You can throw in cities like Birmingham and you have cities that are vast and ever-growing. Maybe it is hard to tackle every corner of the U.K. and get a grip on what’s happening. I do not accept the fact most of the wonderful music around comes out of London. It certainly fosters our best radio stations and labels but musicians of all genres are spread evenly. You can get a fantastic bunch of Rock artists in Glasgow; some brilliant young bands in Brighton – look to Nottingham and there are some great artists emerging. It only really takes the celebration of one Midland-based artist to get the ball rolling and cast eyes that way. Rory Cannon is typical of what Nottingham and the Midlands is producing. I do not mean that in terms of genre and sounds: more, a broadness and quality that mixes commercial possibility with unique and personal merit.

I am based in the South and find there are plenty of great artists to get my teeth into. Brighton and London and close by and, with it, you get a nice variety of sounds. I travel further up the country and that does not really change. Wherever you head, you’ll get a brilliant array and choice. The Midlands is attracting more and more artists in terms of touring. Whether it is the nature of the people or the sustainable and excellent venues there – I notice more and more are booking Midlands dates and wanting to get up there. It is hard to pay equal attention to all areas of the country but the Midlands has always been relevant and strong. Rory Cannon could relocate further north or south but where he is, there is enough support and potential so he can grow his music and get where he needs to. I wonder what the long-term effects will be of that one-track-mind and singular focus. There is less money and support in the Midlands but, the more we look at artists here, the more people will invest. It is a great and fascinating time for new music. The scene is more arresting and open and, because of that, listeners and musicians are expanding their minds and drinking it all in. I have alluded to the fact we often overlook acoustic music in terms of its potential and commercial appeal. The same might be said of areas further north (of London). If we are going to embrace and celebrate the best of music’s banquet; we need to investigate areas like the Midlands and what is happening there. For the moment, we have artists like Rory Cannon who are perfect advocates of the area. I wonder whether, as he grows more popular, he might relocate to an area like London or Manchester. Right now, he is based somewhere that has fantastic venues and has brilliant musicians working and striking.

I am hearing a lot of mixed reviews from artists on the touring circuit right now. It is the time of year we are all clambering and getting out there. The weather has turned and the sun is out; we are looking at the summer festivals and seeing what’s what. I am keen to get out there if I can and see a few gigs. The warmer and more settled the weather means we are more active and energised to see live music. Whether you are heading to an indoor venue or a festival; it is important to look at all the musicians out there and keep the mind open. I know I am talking a lot about broadness and letting music’s full spectrum in. Artists like Rory Cannon might sound quite calming and soft on paper – acoustic music tends to have its particular audience and potential – but there is so much to recommend about the music. Maybe he will find less favour on huge festival stages but his music is just right for the time and conditions. Listen to those beautiful notes and heartfelt vocals and seeing that up-close and live is a different experience. You are not exposed to walls of processed beats and shonky vocals; the predictable sounds one might get from a lot of festivals acts. Instead, you have an artist who is putting his heart out there and keen for his music to connect with every member of the audience. Apply that logic to a more intimate space and you have an artist more adaptable and diverse than most out there. From a church space to a small-sized space; Rory Cannon can bring the people in and keep them hooked. The grace and universal sense of understanding – we can all relate to what he is saying – should be proof enough he merits serious focus and fandom. I feel a lot of artists are being overlooked because we still clamber towards bands and a certain type of music. Even if you are not a fan of Folk and acoustic music; you have to concede that Rory Cannon has a balance of intensity and beauty that gets into every corner of the body.

I am keen, as I said, to get out there and see artists play and feel Cannon would be a great choice. There are artists out there who are being let down and played by promoters and crew at shows. It might take the form of a reduced set or inattentive crew; venues who are not keeping their end of the bargain and treat artists fairly. I would like to see these kinds of problems tackled and addressed. The reason I have brought this up is that there are traps and issues for artists playing gigs at the moment. It is not that common but one has to be aware of what artists are exposed to when they play. It is hard enough to get gigs and sustain interest; really difficult to keep the money coming in and succeed. I am not sure where Cannon is heading in the next few weeks but he is exposed to the same issues as his peers. I am sure he has had one or two bad gig experiences but, looking back at reviews and reading up on him, he is a celebrated performer and someone who holds the crowd in his palm. It is a tough market but we have, in Rory Cannon, a performer who is the complete package. His music runs a gamut of emotions and he is a captivating and reliable performer. You do not get lashings of reverb and percussion with Cannon; you do not get something raucous and sweat-inducing. What one does get is an accomplished and hungry musician who puts his everything into his shows. He works hard to get bookings and ensures each show he plays at is as full and promising as possible. I know Cannon will grow and he will get dates all around the country. It is a competitive market but it is such an asset to have in your locker – being able to hook and effect when you are up on the stage. You just know the space of the stage is the most important thing to him. Nothing else matches the thrill and naturalness of being up there and sending those vibes to the crowd. Looking at his Facebook page and it seems Cannon has had a couple of great gigs. He has played in Nottingham and Sheffield and is getting out to the people. I know Cannon will want to capitalise on the momentum he is creating and getting Vital Signs out to the masses.

I will come to the song in question soon but, before then, a little nod to the music Cannon is playing and what he is all about. He takes influence from artists like Ben Howard, Bon Iver and Nick Drake: acts who have inspired many and have immense power. I listen to someone like Nick Drake and am affected by what he delivers and compelled by the music. It runs deep and I am attracted to the beautiful noted, incredible lyrics and fantastic vocals. Whereas a lot of mainstream music does only one thing or is quite basic; with Folk and artists like Nick Drake, you get something a lot more appealing and resonant. Rory Cannon is the same kind of artist. He considers every angle of his sounds and writes what is true to him. The performances are universally fine and you get such a hit and impact with every song. Cannon’s vocals are superb and one hears so many contours and dynamics working away. His lyrics, as I shall explore, are intelligent and thought-provoking. It is fantastic listening to this artist and seeing what he is all about. Cannon’s looping and finger-picking creates a special sound and gets into the soul. I always look for music that ticks all boxes and has the promise to endure for years. It is, without doubt, I recommend Rory Cannon to people and suggest people throw their weight behind him. When you listen to a song like Vital Signs; you get so many hits and highs. It is a brilliant experience and you are taking somewhere very special indeed. I should move on to the song itself but I will round this section up by talking about Cannon as a complete package. He is someone who, like Bon Iver and Ben Howard, has acoustic and Folk at the roots but builds on that and pushes outwards. The inventive and restless spirit of his music is an attempt to reach all sorts of people and push the limits of music. I feel many of us get hooked up on the fact Folk and acoustic-based music is going to be quite simple and boring. There are artists who are quite basic and uninteresting but the new breed, with the likes of Cannon in their midst, are showing what is possible and what the genre is all about.

The opening notes are gentle and propulsive at the same time. One hears something enticing and soft; there is a strength underneath that builds some energy and projects images. A complex and satisfying brew that gets right into the head and settles you down. When Cannon come to the microphone; he delivers words that raise questions and spike the senses. “It must have been fine and faltered/Let’s pretend…” are curious words and ones that make me think about relations and going through motions. That contrast of ‘fine’ and ‘faltered’ gets me thinking about the different minds and views of a relationship. Maybe things are endangered and they are holding onto something flat. The song’s title, Vital Signs, provokes images of cardiac arrest of weakening signals. The man’s beating heart is failing and he seems tired of games being played. Rather than present a relation and state of affairs in rather basic and generic terms; he produces sentiments that mix poetic expression with something oblique and distant. You can hear how much the words mean but the intensity of the situation means there are few explicit thoughts. That is good as each listener can picture their own scenes and piece the story together. It is clear there is a lot of pain and regret working at the moment. The vocal pitch and changes put me in mind of Damien Rice. Cannon has a deeper and more gravelled voice than Rice. The two do share a sense of command that means the song hits you right away and has a huge sense of confidence and authority. Cannon mixes simple and stirring finger-picking with some interesting additions – percussion and strings – that gives the song a richness and complexity. The way he changes pace and tone – the verse and chorus have distinct and different sounds – impresses me. You are compelled and invested in the first verse and wonder where things are headed. Dreams and frustrations are brought in; the snow has been salted and is desecrated.

You get all these vivid images and stunning words that get the thoughts working and pulls at the mind. These tense and epic emotions are bubbling away and you wonder whether there is any way there is reconciliation and chance. Maybe things are not as simple as a relationship crumbling and losing hold of love. The hero is looking inside himself and investigating where things have gone wrong. Whilst blame is not necessarily placed on the other party; you get the impression they have not been as loyal and invested as they could have been. I follow the song and picture what is going on. The strings are expressive and punchy; they convey so much and take the song to a different level. I keep thinking about other interpretations and what the words could be saying. “These memories through glass drained yet mistaken/Desired direction time to mend…” make me think about relationships but hopes and dreams.  The young man is looking at his life and investigating what is happening around him. Maybe he is going through tough times and not as happy as he could be. Whatever the real truth of the words; you are compelled to stick by him and see things through. The chorus projects chances of improvement and hope. The silence covering frustrations and the snow clearing; that clarity and direction that leads the hero home. Things have been hard and times are unsure right now. You get the sense Cannon wants everything to be alright and see his heartbeat return strong and noble. The title gains new relevance when you follow the words and get more engrossed. I listen to the final words and get the feeling Cannon is in a better place than recent memory but there are still things he needs to address and get through. Whether Vital Signs is purely about faded love and finding new happiness: maybe there is this personal exposure and tackling some rather harsh and unforgiving scenarios.

In any case…one can get lost in the pleasures and notes of Vital Signs. It is a wonderful song that sounds great in isolation. I know it would be great accompanied by other songs on an album or E.P. Maybe you’d get more of a background and history if it was flanked by other numbers. Right now; it is a fantastic single that shows what a strong songwriter Cannon is. You wonder how strong the song could be if it has the backing of other material. I don’t know but I get the impression, when listening to the song, it is something that is part of a wider story. It seems Cannon is in productive mood and creating some great music right now. I hope he gets into the fore and gets his music out there. Right now, he is performing and looking ahead to the summer months. Vital Signs is a terrific song from a bold and impressive artist who has a long future ahead of him. I am interested to see where Cannon can go and what he has coming up. Make sure you get behind him and follow what he does next. The future is very bright and I am pumped to see how far Cannon’s music can go.

Rory Cannon has been keeping busy and is getting Vital Signs out to the world. It has got a lot of love and plays on SoundCloud and people are responding to it. The songwriter was unwell last month and suffered a bit, it seems. He is back now and determined to get on the road and thank his fans for listening to his latest single. I know many will be eager to catch him on the road and hear more music. I know Cannon will be booking dates and trying to get as far and wide as possible. I would love to hear some more singles and see the young songwriter keep that pressure on. He will want to get Vital Signs out there and take it as far as he possibly can. When that is done, and he looks ahead, I am curious what direction his music will take and what he will write about. Things are moving in the right direction and it is a fantastic time for the Nottingham-based songwriter. It is always hard for solo artists to compete with bands and get those big gigs. The songwriter has a lot of love in his local area and is making waves in other parts of the U.K. I can imagine, soon enough, international venues looking his way and pricking their ears. I am not sure what Cannon has in mind but it will be excited following his moves and where he is heading. It has been an eventful and busy 2018 for him and he will want to keep that fascination and success going. Make sure you listen to Vital Signs and keep involved with the fantastic artist. I am hooked on his music and will continue to back him and get involved with his releases. There are few artists who manage to compel in as many ways as Rory Cannon. He has that passion burning and knowledge of music that means his music goes further and deeper than most. If you are unfamiliar with the music of Rory Cannon then make sure you get behind him and show his sounds…

SOME serious love.  

__________

Follow Rory Cannon

Twitter:

https://twitter.com/RoryCannonMusic

Instagram:

https://www.instagram.com/rorycannonmusic/

Facebook:

https://www.facebook.com/rorycannonmusic/

Spotify:

https://open.spotify.com/artist/5kjyIrMAtqkb4zmxpq6pRX

SoundCloud:

https://soundcloud.com/rory-cannon

YouTube:

https://www.youtube.com/channel/UCIIO5b7DxNCPCpt700vPzsw

TRACK REVIEW: URF - Night Driving

TRACK REVIEW:

 

URF

Night Driving

9.4/10

Night Driving is available via:

https://soundcloud.com/weareurf/night-driving

GENRES:

Shoegaze; Psychedelia

ORIGIN:

Manchester, U.K.

The E.P., For the Ride, is available via:

https://soundcloud.com/weareurf/sets/for-the-ride

RELEASE DATE:

4th May, 2018

_________

THIS weekend is a slightly ‘shorter’…

one for me but, if anything, more important than any I have had. I should clarify that first remark: the days are not, litreally, going to be any shorter! I mean, in terms of writing, I have less time than I usually would – I have something pressing happening later which means fewer pieces will go online. The second remark, I guess, also warrants further clarification. I have just quit my full-time job – after two years – to pursue the world of music journalism and all it holds. I know it is a risky move – the money will not start rolling right away – so it is a rather nervous and tense time to start, I guess. It is a move I have made following the suffocating and mind-numbing cycle of the workaday life. It may suit some people, who want that routine and safety, but it makes little sense for someone like me, who has a following and ‘talent’, to leave it hidden and lacking profitability. I have, therefore, made the move into journalism and, in a few months, hope to move to Manchester. This brings me to the world of URF and a neat dovetailing of two points: finding musicians who command that sort of risk; the kind that makes me want to dedicate myself to this permanently. Manchester, as I will explain, comes back into the fore. Abbi Parcell, Scott Woodcock; Jack Biggs, Ben Pratley and Sophie Erasmum make up URF and bring to mind a few topics that need discussion. Shoegaze and 1990s-inspired sounds come to mind; I will revisit Manchester; modern love and cynical thoughts; local support and connection; a great band spirit and relationship - I will end by talking about E.P.s and artists who are releasing sensational music. Let us discuss URF in the context of Manchester. It is, as I said, a city I am going to move to and one that holds great fascination. I am seeing a lot of ears and minds turn that way and head away from the capital.

London is not dry and barren but, if anything, there is a split in consciousness: many are heading further north and finding out what is there. The tensions and political cracks in the capital are causing many to relocate and rethink. That is not an indication of quality and authority: London still holds the sense of dominance and leadership; it is the centre of the British music scene. One reason why people are looking to areas like Manchester is because of the great musicians who are coming from there. The way of life is calmer and less stressful; some wonderful sounds are flowing from the bones of Manchester. URF are one of the finest new acts to come from the city. They seem to take from the scents and physical motivations of the people; the past sounds that made Manchester a legend in music – showing plenty of intent and desire. I will not rattle on like I am forcing Manchester down the throat but I am concerned there are still very few who are going out their way to ignore the North of England. What I am also worried about is how few journalists are taking an effort and representing Manchester in the press. It is the personality of the people that make the music unique and effortlessly strong. You can hear that in every note URF produce. I would like to see more people turning towards the North and concentrating on the music coming from here. I am determined to get more people invested in areas like Manchester because of what they have provided the world of music. The modern scene is vibrant and bustling; there are fantastic venues and some of our finest new bands are coming from here. If we can readjust the antenna of journalism and expend some effort this way; I think we will see more balance and ethical parity.

URF have a mixture of sounds at their disposal but, if anything, it is Shoegaze and 1990s vibes that stand out. I know Shoegaze started before the 1990s but it started to come to prominence in that decade. The likes of the Cocteau Twins and the Jesus and Mary Chain popularised the movement in the 1980s. It assimilated Rock and American Indie into the work of Sonic Youth and Dinosaur Jr. It carried on into the 1990s but it was replaced by Grunge and Britpop. A lot of Britpop favourites like Blur used the genre in their earliest work. Look back a bit and you can see how the 1980s changed drastically and embraced Shoegaze. The existence in the 1990s was short-lived but it influenced the next wave of music such as Britpop and Grunge. Artists were looking for something with a bit more pizazz and endeavour. Shoegaze has, ironically, come back without any irony at all. The genre got its title because of the way players and musicians would stare at their shoes and were in this trance-like state. We associate the music of Shoegaze with a bit of experimentation, obscure sounds and distorted vocals – some big, weird guitars and a little bit of trip. Listen to the modern Indie bands and you can hear those contours return to the frame. Smaller bands and bigger artists are injecting Shoegaze back into their music. There was a resurgence in the late-1990s but it sort of faltered and flattened by the turn of the new decade. Now, when music is at its most varied and open. Shoegaze is risky because the lack of vocal clarity and dissonance; a rather undisciplined musicianship and something that reminds one of the past – rather than remaining in the present. URF are not all about the fuzz and Shoegaze bliss. There are other elements they bring into their music.

The band grew up in the 1990s – although they are a lot younger than me – and they integrate sounds of the decade with bits of 1980s and Shoegaze. They have blown away any media expectation and made a stamp on the local scene. What amazes me is they have concocted a sound that has that nostalgia and past glory but is very much based in the now. The guys are not trying to revoke the past and carbon copy any band that came before. I have talked about Manchester a bit and, when you look at the late-1980s and 1990s, you can understand why they would take inspiration from those times. The Stone Roses and Oasis, between them, helped put Manchester on the map. It was a great time for the city and there was a lot more focus put the way of Manchester. Now, the artists there are trying to gain back that glory and sense of identity. Not that they lack focus and strength: the media will only take their eyes from London if they hear something sensational in the city. It is wonderful hearing bands like URF come through and do something incredible. A lot of new bands are a little bit predictable when it comes to sounds and nuance. I am spending more time around solo artists and wonder whether we will ever see a big band revival and sense of promise. It has been a while since we have seen bands take a stand and rule the mainstream. There are signs to suggest things will change and the balance will shift. One of the main reasons I think this is because of the way (bands) mix genres and the connection within the ranks. You listen to URF and hear that sense of passion and commitment. The guys are on the same page, all the time, and determined to get their music to the masses.

I have looked at Manchester and sort of overlooked the local acclaim they have received. I will talk about their E.P. a bit later but, right now, a hint at the way they have grown and how they have got where they are now. The radio stations around the city have clung onto the band but, to me, there is more promise to be seen outside of Manchester – in respect of radio support. I will talk about that too but, looking at the venues you have up there; so many different chances for the band to get their songs out to the people. The five-piece met amidst the busy Manchester scene and are in the throes of negotiating with festivals. This year is a hot one and they will be desperate to get themselves on stage and playing in the sun. The band has already played some good gigs and are making a name where they are. The likes of False Advertising and URF are showing the sort of intent and energy that is coming from the city. The Alternative scene is a bit tired at the moment; the guys of URF know this and are shaking it up with something more intriguing and fresh. Their E.P., For the Ride, is a compendium of variegated and genre-fusing sounds. They nod to the 1980s and 1990s; the production sounds like the here and now – there is a range of influences that make their music as alive and wondrous as you’d imagine. Their three-track E.P. – the title-track and Say You Don’t Mind join Night Driving – is a statement of intent and declaration from a band who knows what the music scene needs. Maybe the band market is struggling against solo competition because there is still that perceived impression of what is popular and commercial. We have seen enough Alternative acts who produce the same sort of thing. Festivals do need some big-hitters but there is a limit to our tolerance.

I can emphasise with those who want festival-ready bands that produce epic sounds and great riffs. We have a few out there but, for the most part, there is not a lot of future-promise. I hear some great songs but few that really stick in the mind. If one can mix the festival-worthy rush with something more sophisticated and broad; that would start a new wave of inspiration and promise. I am sure URF will get to the big leagues and hope they manage to get a few festivals under their belt. Tracking back to my chat about local press and bookings; it seems URF are trying their hardest to get under the skin and put their music into the public forum. I think it is hard for any act to get their music out there and make sure it gets the oxygen it needs. Manchester is a great city but it is becoming more and more competitive. I have seen London acts fail and retreat: any big city has its pressures and can be quite daunting. URF do not need to worry like many of the Alternative acts that are coming through. I feel the market needs a revision and sense of clarity right now. Too many bands are honing their sounds to the festivals and what is tired and tried. I would like to see more embrace something more ambitious and deep. URF are making sure they get into the mind and drumming up as much support as they can. They want to get onto the festival stages and show hungry crowds what they are made of. What also impresses me is the way a risk combination of sounds plays out and pays off. I listen to songs like Night Driving and the music sticks in the head. The notes bounce around but one thinks and spikes their imagination when listening. The future looks very bright for the Manchester quintet.

Think about what artists are writing about and a lot of it sounds similar. You have those who want commercial acclaim and those who want to stand away from all of that. Many songs still look at love and do so in a rather clichéd and conformist way. URF take more gambles and add a sense of cynicism and humour into their music. You hear about twisted love and relationships that are going through the motions. Their wordplay is fantastic and lines stand out. Supplementing that is music that is fantastically arranged and has been getting critics hot and wet. I yearn to discover artists who can bring a sense of wonder and unexpected into the market. We have some acts that do that but we are hitting a bit of a stagnant period. The chemistry present within URF is palpable; they have a lot of affection for one another and want to make music their full-time careers. That desire and clarity translate into the music. They are chatting with promoters and making sure as many people as possible get involved with their music. I know stations like BBC Radio 6 Music – my go-to recommendation – would enjoy their music and there is every chance a song of theirs could get a spin. There are bespoke and perfect venues the guys could play and eager faces who want to lap their music up. I am determined to look at their E.P. and what it is all about but will end on their subject matter and what they are singing about. I note relationships and their trials are part of the agenda. More than that; the guys turn their microscope onto the wider world and looking at what is happening around them. Their E.P. is a commentary on modern life and personal bonds; how we interact and things that are important to them. It is a tight and concentrated trio of tracks and has standout moments. I wanted to look at Night Driving because it sits in the centre of the pack and seems to define what they all about. Say You Don’t Mind and For the Ride are dreamy and languorous; the vocals are swooning and intoxicating; the sound brings your mind to the likes of Cocteau Twins and their ilk. I will look more at the E.P. but was interested in its central track – it is called ‘Nightdriving’ on Spotify but is two words on SoundCloud – and what it is all about.

You listen to the opening notes of Night Driving and get sucked into a magical world. There is a sense of the night about the strings. You think of moonlight and the solitude of the darkness. You walk along and drink in all the magic and stillness of the music. The band ripples the notes and create a haziness that mixes with a shimmering sense of beauty and a humid calm. That parabond of cold and warm means your head and heart are in different places. I was already thinking what the song is about and conspiring scenes and impressions. To me; I felt, in the introduction, it was about searching for answers and getting out into the night. Maybe there has been an argument and something has happened at home – two lovers clashing and that need for time apart and breath. Another reason why I wanted to focus on this track is because it is largely instrumental. Abbi Parcell has a fantastic voice and is one of the main reasons you come back to URF time again. I have been looking at artists who can do something new with sound and push the limits. From Kamasi Washington and Nils Frahm to Hannah Peel and Jon Hopkins – people who are placing sonics and mood above lyrics. One needs to listen to the whole E.P. to place Night Driving in context – the title slab is a fantastic and moody piece that goes through phases and shows bravery. On a debut E.P., regardless of genre; one is keen to get the voice out there and give the people something visible. Many might fear an instrumental track would be a gamble and see people wander off. The band have told a lot of story in the other two tracks: this is the opportunity for them to see a midway breather and get the audience in a different headspace. You listen to the twanging guitars and the racing beats; the guitars become more concentrated and flowing. The bass drives the song forward and there is a feeling of unrest and contemplation.

The heroine comes to the microphone and seems to be traversing memorable spots. Maybe she is driving to forget or looking to remember the good there was. Places the two used to meet – lovers, perhaps, who are struggling or on different pages – and all the spots where things used to happen. The dreamy and slightly sleepy vocal sound appropriately scores the song and its visions of the night and somnambulistic concern. Our girl is looking for some sort of clarity, that is for sure. Whether she is struggling in a relationship or trying to find something within her; you follow her plight and get inside her head. The band move the song through various motions and the tone shifts. Little flecks of The Smiths – I forgot to mention them earlier! – come through and the spirit of Johnny Marr can be heard in the guitar. The percussion, at once thudding, keeps the beat and hangs in the background. Various components come to the forefront and then mingle into the shadows. Whilst the music contorts and snakes; there is that consistent allure and sense of the unexpected. There is the “calm before the storm” and the heroine thinks back to the time she fell at her lover’s feet. It becomes clearer that this song is about looking around and wondering what has happened. There is a need for distance and a return to how things used to be. You get invested in her mind and how she is feeling right now. Whilst there is that big emphasis on sound and texture; it is hard to ignore the vocal and how affecting it really is. The entire band is sharp and fascinating throughout. They add chemistry, emotion and colour to every single line. The song is never too packed and busy; you get that wonderful sense of drama and cinema.

When the song reaches its intense peak; the drumming gets more insatiable and the bass twangs through. The crescendo and sense of explosion come and one imagines the heroine castigating the bad spirits and making a decision to step out alone. You cannot escape the way the band interacts and the understanding they have throughout. The composition is fantastic and perfectly frames the vocal. The song gets into the blood and you let it take you over. What interests me is how the guys have managed to create their own D.N.A. They could have made it vocal-heavy and put a lot of story in it. Instead, you have that balance of compositional texture and vocal revelation. You get a sense of oblique and open-for-interpretation in the music and hear something more direct and obvious in the lyrics. Each listener can draw their own conclusions and have their own visions. I imagined the heroine looking at old haunts and where she fell for her sweetheart. Things have taken a turn and there is an ache that needs to be balmed. The song is never too haunted and heavy-going. One gets the sense there is hope to be found there is plenty of light to be discovered in the song. I was hooked throughout and compelled to see where the story headed. If you listen to For the Ride and how the E.P. ends; you get a bit of a conclusion but can still come to your own conclusions. The Manchester band has crafted a sublime song and one that makes your head spin and mind brew. I have heard the song a few times now and pick up different things every time I hear it. Investigate the band and make sure you study their E.P. closely. I wanted to look at Night Driving because it is the crucial bridge between the sense of lift and tenderness of the opening track and the sense of confusion and heaviness that ends things.

The guys of URF are on an upward trajectory and determined to succeed. I feel that success will come quickly enough and there will be riches coming their way. They are chatting with promoters and festivals right now. There are many bands hustling at the moment and trying to get gigs lined up for the summer. I know the band will get those dates and their music will spread far and wide. For the Ride is an independent and stunning E.P. that has a connected and natural sound that we do not hear much of right now. There is vibrancy to be found but the band has a more laid-back approach. Some might find that to be an indication of a less focused and interesting viewpoint. Listen to Say You Don’t Mind and the flickering notes and gorgeous vocals. The title cut is a perfect ending and draws you into the music. Each of the songs runs into one another but they have their own identity. I love the musicianship and invention you can hear right throughout. Night Driving is a gorgeous cut and one that seems to show what URF are all about. I have high hopes for the Manchester band and their future. I know they are getting press and fans right now. They are working hard and their press release is great. The band play Night People (Manchester) on 8th June and that will be a big show for them – a headline slot that will get the E.P. out to the local folk. The fact this is their debut E.P. means it is early days for them. For the Ride is something you want to get involved with. The personal and friendly approach of the band – look at their social media to see what they are all about – means you take them to heart and want to see them go far.

I will start to wrap things up but wanted to recommend people go beyond what is forced on us and listen closely to artists trying to do something new in music. Although URF takes from Shoegaze and have a sense of Psychedelia about them; I can detect a lot of modern edges and unique strands. It all fuses into a steamy and alluring perfume that has turned heads and got smiles widening. I have been listening to their E.P. a bit and swimming through every note. It is a fantastic thing that will get some great reaction when they gig more. Check out all their channels for the latest grooves and happenings of a young army who are doing something awesome. They met among the throng and rush of the Manchester scene; they are one of the reasons why I am moving to the city – seeing bands with that blend of personality and interesting music. I am keen for URF to get out there and see their music get wide and far. Congratulations to the guys for presenting such an interesting and solid E.P. Make sure you get behind them and support what they are all about. It is an exciting time for the young band. I know they will be big names in the future and will get a lot of attention. I wanted to look at the track, Night Driving, because it is my favourite song of theirs. I would urge people to view the E.P. as a single thing and address the tracks in their natural state: a brilliant trio that resonates and percolates in the brain. I will end it here but am pleased I have come across URF and will follow them closely. Night Driving is an accomplished E.P. from a band starting out and testing the water. Even though URF are local promise and looking for festivals at the moment; it will not take long before they start getting…

SOME huge and vital bookings.  

___________

Follow URF

Twitter:

https://twitter.com/weareURF

Instagram:

https://www.instagram.com/weareURF/

Facebook:

https://www.facebook.com/weareURF

Spotify:

https://open.spotify.com/artist/4WENMRc6N8hETj9NjvMoCD

SoundCloud:

https://soundcloud.com/weareurf

BandCamp:

https://weareurf.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UC_4jnB9uQw67NhZiD0XY3ww

TRACK REVIEW: Zoey Lily - Last Goodbye

TRACK REVIEW:

 

Zoey Lily

Last Goodbye

9.2/10

Last Goodbye is available via:

https://soundcloud.com/zoeylily/zoey-lily-last-goodbye

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

13th April, 2018

_________

I have made some decelerations...

with regards my blog and what I am including in the coming months. From a review perspective; I am only going to feature those artists I have not included before – that could be a bad move but it is hard to review the same act and say something different each time I do so (given the length and nature of my reviews). It is exciting featuring Zoey Lily because she is fresh to my reviewing ears – I have interviewed her once – and there is a bit to talk about. I will discuss, for the last time in a bit, images and how vital they are; putting songs together and artists that take care of each stage of the production process; unsigned acts and negotiations with labels; how to stand out in a crowded Pop market; how Popstars are different to previous years in terms of themes and vocal sounds; why Zoey Lily, and her upbringing, puts her in a good position (compared to her peers). I will start out with the social media package: something I have written about a lot but still comes back to my mind. It is important that every new artist, to get maximum traffic and folks flocking their way, looks at a concentrated and clear outlay. Zoey Lily has done well in the sense she has an official website and covers herself across social media and music-sharing websites. The ideal situation is having an official site where all your links are included on the homepage – you can click on each and easily navigate there. Facebook, Twitter and all your other sites would be regularly updated and you’d ensure there are some current images for people to see. I mention this because Zoey Lily is a lot further ahead than most. Her official website is great and she ensures one can see her on every major platform. It is images, again, that is the slight wrinkle. I will drop the argument for a little bit but think it is important that people get to see an artist and there are clear photos. I have managed to find quite a few on Zoey Lily’s pages – they range from older ones to the shots made for her latest single.

A lot of artists, especially under a label, get photos taken for each song. They will have a set of photos for each work and then move onto the next one. Zoey Lily has managed to take a much bigger step than a lot of acts out there. She is organised and keeps her fans abreast; she wants to take care of all her channels and get her music out to the people. The only (minor) suggestion would be to spend a day in London and get a photographer taking, say, ten or so new shots – a great investment that would attract new eyes and get journalists in. Right now, and the reasons I want to review her, is a particular sound that comes to the mind; pleases the senses and invigorates the mind. I will move onto that but, before I do; let us consider those artists who realise the importance of social media and reaching out to their fans. It can be challenging keeping on top of everything and finding the time to update your social media. The days are long and it is hard getting it all sorted and visible. A lot of artists are too busy with music or they struggle to balance work and life. Zoey Lily has a hectic time of things but she is keen to touch her fans and make sure they are kept in the loop. Her sites are easy on the eye and one can navigate around and find out what they need to know. That may sound like a minor consideration but there are few who actually manage to do this. I can understand why it is hard to achieve this but, for those who do, I am impressed. Zoey Lily’s music is evolving and changing; she is getting bolder as an artist and aiming high. If she were to keep her pages the same and take her foot off the gas, then that would compromise her fanbase and popularity. She has a loyal crew out there keen to support the music and, as such, Zoey Lily puts the effort in and does her very best.

I will move on to her song, Last Goodbye, soon but, right now, I wanted to look at those musicians who foster their song from conception and see it through to the very end. Even if that title sounds familiar – it is not a Jeff Buckley or The Kills cover – it is a very different beast and one that is distinctly the work of Zoey Lily. She is an artist who writes a song and makes sure it as good as it can be when it gets to the studio. From there; she will look after the production and handles every process and movement. It is not an ego thing or a way of shutting others out: she is a person who knows how her song needs to sound and has the talent to take care of it all. That multi-discipline approach is something more and more artists are learning these days. Whether this is because many artists are going to music schools or teaching themselves, I am not too sure. We are in an age where technology allows one to make music and produce it without anyone else’s assistance. People can see a song from its start to end and learn a lot of new skills along the way. I feel we are producing more educated and ambitious songwriters. Zoey Lily, as I will explain, grew up around music and she has involved herself in production and recording. Rather than write a song and then throw it over to producers to mould and mangle; there is that determination to produce a singular sound. I am not being down on producers but feel, when you listen to some songs, the producer will put their stamp on it and it does not sound as you’d hope. Having more than one cook in the kitchen can be a fruitful and inspiring thing. I always find those who can produce and engineer a song should go for it. There are a lot of great producers out there who are willing to listen to artists – I always like musicians who can self-produce and take charge of the process.

I want to talk a bit more about this. Music is getting more competitive and, the longer we go on, the more people will come in and the market will be crowded. The same way we need to encourage artists to look at social media and put the package together; production is a skill we should be imparting. It does not mean you have to go to school or spend a lot of money learning from the best. There are tutorials and software available that can provide lessons and it is possible to get a grip of the basics. From there, once you have acquired the foundations; a musician can join with a producer and they can collaborate to create something that sounds great. It is interesting comparing artists who use other producers and those who work alone. A lot of the biggest Pop artists out there – Beyoncé and Rihanna, for instance – use several producers and it can be a way of bringing new life to their music. Different minds will have their own opinions and skills – that can be beneficial if you want to create a varied album. I will not labour the point too much but I am impressed Zoey Lily has made her mark already and has the skills to create a song and make sure it sounds how she wants it to. What I would like to see, when she gets to an album or E.P., is continue that singular vision as it will send out a message to new artists who feel they are unable to produce or do anything as good. Of course, with Zoey Lily, she has been involved with music since childhood so it is only natural she’d have those talents encoded and tattooed in her mind. One can hear that spirit, knowledge and authority when you hear her song, Last Goodbye. It is a personal and stunning song from an artist who continues to grow and impress.

I wanted to address unsigned artists and those who go it alone. It might sound like Zoey Lily is a solitary charterer who only wants to work on her own stuff – not allowing anyone else in. Rather than farm out duties to countless people and have to negotiate with various bodies; she is free to make music how she wants and not have to compromise. There is a different ethical consideration when you consider labels. Being unsigned has some drawbacks and problems. It can be hard raising money and promotional clout to get songs out into the ether and reach big stations/sources. A label can guide you through the process and they have the expertise to put music in the right hands and provide all the guidance you need. If you are with a label with a big stable; they will be able to put the music in the vision of radio stations, journalists and T.V. producers. It will be easier to get that attention and appreciation. One can list all the good things about having a deal and signing up with someone. Many find, however, there are more benefits being alone. Whilst you do not have the capital flow and the business minds able to guide the artist; there is not the constant promotion and pushing that means the music gets out there and is heard. The benefits of being unsigned are an artist can take control and do what they need to with their songs. They do not have to compromise when it comes to fees and have to split royalties; they can produce and write anything they want – a label can often direct an artist’s sound and career direction – and release material when they see fit. It may mean less money comes their way – the artist needs to work harder to get revenue - but there is more creative freedom and mobility.

I feel Zoey Lily will get a lot of label attention and people will flock her way. I can see some rather prominent labels throwing offers her way and, when that day comes, I hope she makes the right decision. It is hard knowing who to trust and whether you should take a deal. The way she is producing and releasing music is working right now. As her stock rises and the demand come in; she might not be able to field every aspect of work and have the time to perform. It is down to her but, regarding the next year or so; E.P.s and albums will come to her mind. Zoey Lily will want to tour internationally and she’ll be in a position to extend her scope around the U.K. At this very moment, the songwriter is producing some incredible music and doing things how she needs to. I wonder whether Zoey Lily will look at a P.R. label to help with the promotional side of things and pushing her music out to blogs. I know a lot of artists who do not have a label but have a promotional agency that can assist with putting the music into the ether and providing opportunities. It is an interesting ethical and financial decision when you think of a label and what it can do. There is no doubt the young artist will continue to grow and more demand will come her way. There will be those radio appearances and gigs requests from around the world. I wonder whether she will be able to juggle all the responsibilities of recording and releasing music with touring. If I were her; I would remain unsigned for now but, with new releases, keep my mind open and study those labels that would be good for her. She need not sign but, if she has a name in mind, she can share her music with them and that would open up negotiations.

Pop music has changed the past few years and is taking more prominence. Artists are becoming bolder and more eclectic; there is a leaning towards more personal and deeper songs – not as beholden to commercial sounds and something empty. A lot of Pop artists are learning instruments and concentrating on musicianship. There has been a gradual rise in the quality – even if there are some rather ropey artists around – and female artists like Billie Eilish and Sigrid represent the new breed. They may not play themselves but the writing and performances are a lot more mature and nuanced than you’d expect. When I was growing up; so much of what was being put out was catchy and inane. There were hooks coming out of all corners but I never really felt the messages being sung were that evocative or original. Maybe that is a way for music to remain and inspire: providing something with a catchy chorus and easy to remember. We still do have that sort of Pop but more and more new artists are turning the pen to their diaries and writing about their personal experiences. This can lead to some rather emotional releases that make you think (rather than dance). I have seen Pop change and the face of modern music has shifted. Some might argue there are fewer long-lasting artists and songs are not as strong as they were. Others contest young artists are working more independently and not reliant on swathes of producers; they are more concerned with meaningful songs and less bothered about parroting what labels want them to sing about. Zoey Lily is one of those people who fits alongside your Sigrid-type artists and has that sort of sound. There is youthfulness and vibrancy but, listen closely, and the subject matter has older bones and a ready brain. The words are more striking and mature than you would expect from someone so young. What impresses me is Zoey Lily manages to link with that of-the-moment Pop sound but not repeat other artists and mirror their music.

Listen to the vocal of Zoey Lily and there is that similar and popular sound. The notes are deeper and dark at time; there is a slight American affectation and the performance is solid and varied. You get a lot of colour and passion coming through; that mixes with tender moments and the resultant brew is a rather mesmeric and interesting experience. I wonder where she will head from here and whether her sound will alter that much. Zoey Lily has created something great that is speaking to her fans and recruiting new followers in. I can hear how she has grown on Last Goodbye and how confident the music is. You would not imagine this is an artist who has only been recording sounds for a short time. The Hackney-based, French-raised artist has been involved with music since she was a child. At the age of thirteen, she began playing the piano and got the songwriting bug. By seventeen, she was drawn to her dad’s acoustic guitar and picked up another talent. She was split between the rush of London and the rural pleasures of Les Mayons (France). This mixed and diverse upbringing goes into her music and touring. Her dad is a live music agent and her mum is a fashion designer. You can tell all of that D.N.A. is in her blood and it is no wonder Zoey Lily decided to get into music. She has a great contact/help in her dad and it is obvious his musical experience has made a big impact. I wonder what music she grew up around and whether she’s more inspired by modern Pop artists. One can hear a mix of older Folk and Pop with Electronic artists from this day. It is an intriguing concoction that seems familiar and accessible but is definitely from the unique mind of Zoey Lily. I am interested seeing where she goes from here and what the young songwriter can come up with.

There is softness and haunting opening that highlights the voice and the power it holds. The production is quite basic as to allow the natural tones to shine and resonate. Piano is there from the start and the notes are tender and pure. Before the vocal started; we hear Zoey Lily sort of sit down as it were and get the recording started (saying “Okay?” as if to signal the off). The performance has a sense of passion and intensity that does not lead to a suffocating and hard-to-love song. The way she delivers the words means every syllable strikes and there is so much emotion put in. Even though the song is, as the start, a little affected and harrowed; you are compelled to dive in and walk alongside the heroine. She is not going to beg the man to stay and compromise at all. It seems things have taken a turn for the worse and the breakup has left its mark. The composition relies on that piano and the way it cuts through the song. There are suggestions of beats and percussion but the piano is king and in the foreground. Our heroine is investigating the way she has acted post-breakup and how she has handled things. You get a sense of self-destruction and someone who is spiralling away. She implores the sweetheart not to hold on to her heart and step away. Maybe it has been a hard realisation and things have been a bit too severe. I am in the position where I see a young woman who has been involved deeply and was not prepared for what has happened. The guy, it seems, walked away and I am not sure whether he is the culpable party. One can hear Zoey Lily’s command and personality come through. Although, technically, Last Goodbye is ‘co-produced’ by Zoey Lily; she takes care of most of the duties and the song is as much her voice as anyone else’s – the lion’s share of the production and engineering is her.

The song continues to grip and keep you in with its emotional outpouring and confessions. There is that sense of weight and being tied by the stone of heartache. You get a sense of optimism and energy, oddly, as the song goes on. Piano steps back and the beats and electronics take more of a role. The opening is graceful and has that tender and controlled head. Our heroine was in the shadows and talking in quieter tones. The track then moves into new territory and the beats get sterner and more heated. The percussive notes scuttle and vibrate; the electronics echo and work in the back to create a mood that is quite hurt and scarred. What one notices is an opening and signs of hope. The song gets hotter and more energised – never too much… - and the heroine is looking to better things. You get signs things are on the up and she needs space at the very least. Vocally, things start to lift and I can hear a slight lessening of the pressure. Our heroine hums and there is a strange sensuality in the delivery. Zoey Lily has one of those voices that will remind you of certain Pop artists but never too strongly. That balance of familiarly and unique edge gives the song its stripes and compels you to reinvestigate. The story continues and it seems there is no way back for the duo. They have done all they can and things have ended. I am not sure whether both have blame or whether it is more one-sided. What I do know is the heroine has been impacted by the break and she is looking for some time away to reflect. I noted how the song contains energy and upbeat in addition to the sadness and pain. Towards the end, you get a sense the breakup is for the best and things will work out for Zoey Lily. She is looking for safety and a happier climb. You can appreciate the fact she needs to vent and get everything out there but I know there will be an improvement and brighter days. In terms of the composition; it gets brighter and there is light coming through. Last Goodbye is a song that takes a few listens through before all the strands and ideas really sink into the mind. It is a wonderful and emotional offering from a performer who naturally fits into modern Pop and knows what the public needs. She has not compromised that knowledge and ensures the song is personal and very much from her own heart. I can see more material coming from the songwriter and a very busy future ahead of her. In a music scene where there are a lot of artists doing the same thing; Zoey Lily is distinguishing herself and keen to mix things up. It is a beautiful and memorable song from the talented young artist.

Zoey Lily has a busy time ahead and will be keen to get Last Goodbye out to the people. I am not sure what she has planned regarding gigs but I am sure there are London dates coming. Keeping updated on her social media channels and the songwriter will update her fans. As summer draws closer; we will see Zoey Lily put herself out there more and that can result in more material. I am excited seeing what she can come up with and whether an E.P. is her next step. So far, she has made big steps and developed her sound. Each release sees new joys and elements come into the mix. You cannot deny she is among the more arresting and talented artists around. She takes care of her music and is someone who knows what each song should sound like. You get a personal and strong offering that stays in the mind and gets you moving. Last Goodbye has personal struggles but there is hope. Rather than write something too downbeat or hard; one experiences a blend of introspection and strength. The songwriter has produced something fresh and alive; it moves and strikes when you least expect it. It is a song perfectly suited for the warming weather and designed to get bigger crowds moving. I know there will be demands from festivals and the London-based artist will have a busy summer. Zoey Lily spends a lot of time on her music and the sheer energy she puts in is to be commended. The rewards will come and things will get even better for her. The Pop market is a packed and expansive one that is changing its face and producing some genuine stars. Zoey Lily is compelled by what’s happening out there and wants to add her own voice. She is doing that with aplomb and I am excited to see where she goes and what her next move is. Kudos to a spirited and stunning songwriter who is doing something new and turning heads at the moment. She is still young and there will be lessons along the way. Zoey Lily knows the challenges ahead of her and she will handle everything with grace and strength. Last Goodbye shows she is up for the hurdles and can tackle anything that comes her way. It is a striking song from a multi-talented artist…

PEOPLE need to get behind.

___________

Follow Zoey Lily

Official:

http://mezoeylily.com/

Twitter:

https://twitter.com/mezoeylily

Instagram:

https://www.instagram.com/mezoeylily/

Facebook:

https://www.facebook.com/mezoeylily

Spotify:

https://open.spotify.com/artist/0LazfGmIM2fG2g9Xg3ZLWA

SoundCloud:

https://soundcloud.com/zoeylily

BandCamp:

https://zoeylily.bandcamp.com/releases

TRACK REVIEW: Scott Quinn - Run

TRACK REVIEW:

 

Scott Quinn

 Run

9.5/10

Run is available via:

https://soundcloud.com/scottpquinn/run-1

GENRE:

Electronic

ORIGIN:

London, U.K.

RELEASE DATE:

27th April, 2018

_________

THINGS are changing in my camp…

PHOTO CREDIT:  Harvey Pearson

which is not to imply I am changing careers or coming out of the closet; I am not relocating overseas or reducing what I say on these pages – simply, there will be a couple of lifestyle changes. One of those alterations is a move from the edges of London to the centre of Manchester. The lure – and lower rent prices – of the North are calling and, with it, I am thinking about artists from there. My featured musician, Scott Quinn, has Yorkshire blood but, now, is down in London. I will chat a bit about those who carry that northern spirit in their blood and music; chat a little about artists who have that fan appeal and are destined for bigger things; solo songwriters standing out and producing something that settles in the heart. I will also discuss sound and the way certain musicians set you stunned. The reason for this is my new-found discovery of Nils Frahm. This might sound like a tangent but, considering his music, there is much to talk about. Scott Quinn, in many ways, makes me think of Frahm. I will also tackle artists who could affect change in the industry – writing a bit on artists and image. I will start with the last point – and work my way back – as Quinn has a rather dashing look and projects a confidence in front of the camera. It is something I bring up with a lot of artists (and get my backside bitten by some) but one would like to see some more snaps of Quinn out in the ether. He has a few promotional shots for his latest single but, looking back, he has changed a little and gaining a lot of traction. In fact, rather than obsess over my desire for more photos to come out into the open, I will discuss Quinn as a complete package. He is one of those artists who engages the listener and has something about him. Maybe it is a slight glint of Jeff Buckley or the combination of his aesthetics and music – something stands out from the pack and draws you in.

Whether he gets some more shoots organised and a bit more of a spread organised, I am not sure. Right now; he is letting his incredible sounds do all the talking – I get I should focus more on that. Maybe I have procrastinated but I wanted to speak about music this year and, well, how many letdowns there have been out there. Scott Quinn is an artist who always delivers the good and you know he will go all of the way. Each of his songs builds from the last and delivers something incredible and unique. I have seen big artists produce albums in 2018 and they have not really delivered what they set out to do. I am casting my mind around for an artist who has produced something end-of-year-winning-worthy but there is nothing that leaps to mind. Maybe it is too early to call the predictions but I feel there is something lacking in 2018. New music, to me, provides the real quality and artists who are worthy of bigger attention. One of the reasons I wanted to focus on Quinn is because of his determination, full sounds and consistency. This is not the first time I have reviewed his stuff: every time I come to his music, I hear the young man build and set his sights on the mainstream. I feel there needs to be more of an overhaul so that artists like Quinn get a quicker passage to the big leagues. Run is a title that makes you think of other artists – the likes of Foo Fighters and Snow Patrol have adopted the song name – but the contents of the song are very different. What amazes me about Scott Quinn is the depths and nuances that run through his music. I said I would talk about sound and how artists like Nils Frahm have come to my attention.

So many artists out there focus on vocals and do not really consider the sonics. There is that insistence on urgency and getting into the mindset; making sure the song races out of the traps and settles into the soul. Those who step aside and work fastidiously on texture and layers are to be applauded. Whilst Frahm is someone who can take the piano and produce something sensational still and evocative; Quinn creates amazement and emotion in a different way. I listen to his music and concentrate on the music and let it swim in my brain. It has that ability to settle me and lift the body at the same time. I hear too much music that captures me in regards the vocals and lyrics; Quinn manages to nail those and produce incredible, amazing music. One of the reasons Quinn has built his sound and improved is the success he has accrued and the places he has been. The young songwriter has performed abroad and gained a lot of respect from big sources. He has become braver with his writing and seen there is a market out there for him. There are a lot of Electronic-based artists out there but, to my mind; there are too many who expend needless energy and colour. They are all about physicality and having something radio-worthy: few take the trouble to go deeper and put their full self into the music. Scott Quinn is a man who wants success and attention but knows the way to do this is to create music that is personal and full-bodied. I am a big fan of artists who mix Electronic and Pop but there are not enough who do something different; too many samey and generic examples who do not really stand out in the mind. I will go on to look at other subjects but, before then; a little conversation about the North of England...

I mentioned how I am relocating to the North, soon, and putting London on-hold for a little bit – I shall move there when I have a bit more money in the pocket. In many ways, I am doing the opposite of Quinn: he started life in the North and now, as his career has taken off, he has settled into a nice part of the capital. I also mentioned how things are changing on my blog. One of those changes is focusing on artists I have never reviewed before – I had to include Quinn and his latest song. I am drawn to Manchester because the people and vibe there has a warmth and sense of allure that you do not get anywhere else. There is a vibrant scene and so many chances for a musician/writer. London is great but, unless you can sustain a life there; many are being priced-out and alienated. I love people from the North because, in terms of their music, one gets something you cannot get anywhere else. Maybe it is the way they are raised and the style of life there. I get the sense northern artists have a deeper sense of where music came from and there is a more relaxed and friendly way of living. That easier and less stressful existence means the music they (northern artists) provide tends to be a lot more attractive on the ear. Maybe I am over-simplifying things but there is a distinct northern tone and testament that music needs more of. Quinn has not neglected his Yorkshire roots and transformed into a Londoner. The reason I found Scott Quinn was a tip from another of my favourite northern artists: the incredible Billie Marten. She is another Yorkshire-born artist and, as far as I know, is still based up there – my hope is she releases another album this year. There is, I know, a definite split between the artists from the South and North.

I will move on to review Run in a bit but, before I get to it, I will look at artists building a base and getting proper kudos. I have noticed Scott Quinn recruiting and keeping the fans busy. He is getting a lot of praise from his latest song – it is clear people are reacting and getting behind the songwriter. Quinn has thousands of followers and is establishing himself as one of the most impressive young songwriters around. I wonder where this increasing popularity will take him. His songs are being played on the radio and, with backing from the likes of Marten; I am curious how Scott Quinn will ascend to the mainstream. That elevation and progression can be a curse for some: labels and record companies can mould an artist to sound too false and Pop-driven; strip away what makes them, well…them. Among all the musicians I see doing well and getting heat; all of those who are growing and gathering a huge number of fans – Scott Quinn seems to stand out. I have mentioned subjects like charisma, looks and a way of doing things. It is clear the whole package is a potent and important thing. He is an artist that leaps off the page and compels you to dig deep. His natural personality means he comes across very warm and thankful; an artist who appeals to every sense and urges you to stay with him. I am a big fan of his work and wonder where he might head next. It is tough being a songwriter in music right now. Every week, we are exposed to new artists and there is ample choice for every taste. We have been told streaming services have overtaken physical stores when it comes to buying music – more people are downloading and getting music online than any other time. That is positive in the sense new artists are among that statistic. One of the downsides is the competition and pressure.

How does a new artist come into the market and get right into the forefront?! Nobody is going to be huge right away but there is that need to lodge in the mind as soon as possible. Scott Quinn has got to where he is by creating and releasing great music that has a particular sound. I look back at Quinn’s earliest days and can see how he has grown. Now, a bit down the line; he is working hard and ensuring people get behind him. Although one hears an artist confident and ambition; he is part of a packed market and crowded landscape. It is as hard for him as anyone when it comes to attention and popularity. Streaming means everyone can get their hands on a Scott Quinn song at the click of a button. It is an exciting time for the young man and I know, in years to come, he will be riding high at the centre of the music industry. There are ways Quinn manages to stand out and get his music out to the masses. He has great management behind him and a team that supports his every move. He has been touring a lot and putting the miles in. Here is an artist who goes the extra mile – literally – and wants to see his fans up-close. I can envisage American dates for the man and a lot of popularity in that part of the world. Quinn is one of those people who translates easily and gets under the skin. His music mixes the familiarity of fellow Electronic but there are added dynamics and facets that distinguish itself from the competition. It is, I know, tricky to get ahead and stay in the thoughts as music gets busier. A hard work ethic and restlessness mean Quinn is bringing people into his tent and getting tongues wagging. This projection and momentum will continue as we go through 2018. I will talk about his future and next moves in the conclusion but, before I get to the song; let us consider artists who can attract others in and make a change in the scene.

Scott Quinn is someone who supports other artists and wants others to succeed. Maybe, again, that tracks back to his northern roots and how he was raised. I get a sense he wants to help others out and ensure they find success. We look out at the music scene and love what we hear, for sure, but, in my mind, there are few leaders and guides who can help affect changes and betterment in the industry. I feel Quinn is one of those people who inspires fellow musicians and gives strength to those coming through right now. I know other artists who cite Quinn as an idol and love what he is doing right now. He is a musician who puts his all into the world and wants to make changes. In terms of his sound, at least, he is pushing Electronic music in new directions and exploring sonic and lyrical corners few others are. It is hard to take all of these points into consideration and not get excited. I have reviewed many artists that have the ammunition to succeed and go very far in the business. A lot of times, that prediction comes from their sound and the way it resonates. In the case of Scott Quinn; he is someone whose appeal goes beyond music and what he is releasing. He has that natural-born way of working and persona that captivates the senses. If it sounds like I am going all gooey-eyed, musically, then you have to have a listen and investigate the young man. Music is rife with great artists who have something special about them. In order to separate those with genuine genius from those who are merely good; one must do some more investigation and study their whole self – rather than judge them on the music alone. I think Quinn is someone who can go all the way to the top and, when there, motivate a new generation of songwriters.

There are teasing beats and spacey electronics that open Run. It is a cosmic and trippy introduction that has a grounded and natural feel. That might sound like a contrast but, when listening, it is never too out-there and distant. The notes bubble and cascade; the threads tessellate and interlock – it is a gleaming and lustrous welcome that brings the listener in and intrigues the senses. Fingers are tracing a lost and helpless cause – a sentiment that stands out and unsettles the listener. Quinn has a commanding and deep voice that means every word has a gravitas and authority few others possess. I built images of a woman or lover guiding her fingers over his face and trying to urge a smile from his face. Maybe the hero is too down and going through something hard right now. It all seems rather defeated and numb: there is hope and the need to come out of this doldrums and improve. It seems, however, the hero is talking about someone who needs strength and betterment. Again, it might be a lover or someone he knows. They are down on their luck and things are not as golden and great as they could be. The hero offers his strength and commitment to ensure the person finds the direction they need. It is a humble and compassionate plea from someone who will not stand by and watch them unwind. The threads are coming loose and there are tears, for sure. Quinn is a singer who manages to deliver his words with incredible strength and depth. That word, ‘depth, keeps coming back in. Here is an artist who goes further and explores territory many do not. The composition is incredible and evocative; the voice is striking and stirring – the lyrics bring the listener in and you follow the storyline. The hero stands back and sees his subject run away from who they are. It is hard to see and, without knowing the background, we wonder who this person is. It seems like it is a woman and, perhaps, someone Quinn has been involved with.

One can actually look at the song and wonder whether, in some way, the hero is talking about himself. Maybe it is hard being that personal and open on the page – talking about your past through the guise of another is a way of exposing that hurt without being too revealing. Maybe I am getting ahead of things but, on the face of it; it is heartening seeing the hero offer arms to someone who is struggling. The song continues to change directions and explore new ground. The chorus is a bigger and more effusive burst that brings the vocal the fore and makes the spine tingle. Before then; one gets a little bit of Soul and R&B. There is a soulful and more sensual passage that comes out of the blue; the song twists and ventures without any warning. Scott Quinn is a songwriter who brings as much emotion and quality from his songs as possible. Run is a mobile and fluid song that never rests and goes through different stages. In a way; the music seems to reflect changing feelings and new thoughts. The song is a complex and hard-hitting thing that deserves proper attention and emotion. I was struck by the immediacy and complexities of the vocal. You get a real hit of tremulous desire but that maturity and focus. It is a bewitching and enticing combination of colours that swim in the blood and gets your imagination racing. There is a feeling deep inside (the heroine) that seems unending and pressing. I might be going to predictable sources when I say it is a woman being explored. Whatever the truth and origin of the song; you are gripped to the very last and inspired throughout. I have stated how the composition carries so much brilliance and really gets into the brain.

You need to listen to the vocal and the weight it carries! I could compare Quinn to someone like Sampha – there are similar tones – but his voice is much more complex and varied than that. He can go from a cooing and softer refrain to something explosive and impassioned; down to a distant and observant tone – it is a full and busy vocal that manages to convey so many different things. Kudos goes to Quinn for delivering a song that retains his sound and identity but manages to head in new directions. He is a songwriter getting better with time and writing music that surpasses so many of his peers’ stuff. I have come back to Run a few times and get something new with each visit. The song is quite an intense and emotional thing to understand upon the introduction spin. I was trying to unpick the origins and who is being represented in the song. The way the hero offers his arms and words to help the ailing other; the compassion that comes through the need to find out what is wrong…that is not something you get from a lot of songwriters. I hope the song’s inspirational point managed to find some solace and safety. Whatever compelled Quinn to write the song; it is a wonderful offering from one of our finest talents. Maybe Quinn is looking ahead to new material but, right now, people are responding to his brand-new offering. It is a brilliant and mesmeric number from Quinn. Maybe its true meanings and words take a little while to sink in – it might take a few listens to really register and seep into the senses – but, when you play it enough; everything coalesces and connects. Quinn has delivered, what I feel, is one of the strongest efforts from the world of new music.

I have vacillated and drooled in the direction of Scott Quinn for a bit, now. The reason I have delayed a few other reviews and squeezed him in is that I wanted to capture Run at its freshest. It is a song that is urgent and passionate but has so many ideas and tones working away. I felt, if I gave it too much time, I would not be able to capture the true aspects and fullness of the song. I know Quinn has gigs and stuff coming out – check out his social media channels for all the updates – and he will be thinking ahead to new music. I mooted whether Billie Marten is bringing anything out before the end of the year – maybe the two will collaborate on something?! I would love to see more Scott Quinn music as, every time I encounter a song of his, I am transported to a different world and learn something new. That might seem odd, given it is only music, but there is something unusual and wonderful about Quinn’s sound. I have brought in Nils Frahm and how he manages to entice the mind with his wonderful sonics and beautiful songs. Quinn is a more energised and fizzed songwriter – he inspires and drops the jaw in a different way. Sound and the way it is projected is a common factor that bonds the songwriters. Scott Quinn puts his all into music and ensures the compositions are as daring and intelligent and the vocals and lyrics. I will leave this now but, if you have not heard of Scott Quinn and what he is putting onto the page; ensure this is remedied and get behind him. I am excited to see where he goes and what comes next. He is gaining new fans by the day and so many people are keen to throw their weight behind him. I can see a busy and prosperous future ahead of the London-based songwriter. I know he has played in Europe and there will be U.S. dates, I am sure, soon.

The American peeps would take to Quinn and support everything he does. Run is the sound of a young artist who knows what music means to people and wants to touch lives. He has one eye on success and getting bigger; the other is on creating material that is true to him and different from everything else around. That is a hard balance and compromise: Quinn is unwilling to sell himself and record music that is commercial and easy. I have been tracking his movements and can see how he has developed over the years. Maybe there are visions of an album or E.P. later in the year but, right now, there is a single out there we all need to hear. Run is a perfect song for 2018 and what we all need right now: a dose of uplift alongside genuine emotion and beauty. It is an intoxicating brew that, I hope, has been summarised and detailed with enough clarity and truth. Congratulations, again, to a musician who has produced a terrific and potent song. In a rather damp, dreary and unpredictable time of the year; it is nice to discover a songwriter who always delivers and provides something warming and stunning. Where Scott Quinn heads now is up to him; where his music travels is in his hands – so many people want to see him in the flesh and follow where he goes. Run is a fantastic and memorable song that proves the young artist has a very…

PHOTO CREDIT: Harvey Pearson

BRIGHT and busy next few years ahead of him.

___________

Follow Scott Quinn

Official:

https://scottpquinn.com/

Twitter:

https://twitter.com/ScottPQuinn

Instagram:

https://www.instagram.com/scottpquinn/

Facebook:

https://www.facebook.com/scottpquinn/

Spotify:

https://open.spotify.com/artist/0FlBLkbHEvmCMu2X46Ail1?si=kOt42fa5QDSWTfqFvYsT-g

SoundCloud:

https://soundcloud.com/scottpquinn

YouTube:

https://www.youtube.com/channel/UCSp1xGs6WnRZz5U07z8LqfA

TRACK REVIEW: Josh Michaels - Above the Water

TRACK REVIEW:

 

Josh Michaels

Above the Water

9.7/10

Above the Water is available via:

https://soundcloud.com/user-427547948/above-the-water

GENRES:

Pop; Alternative

ORIGIN:

New York, U.S.A.

RELEASE DATE:

18th April, 2018

_________

I do not usually review artists more than once…

but I am making the odd exception lately. One of the reasons I wanted to feature Josh Michaels again was to go back to New York and re-explore the city. It also gives me a chance to look at how he is developing and a song that is exploring a determined and defiant subject. Above the Water is a song I am keen to get down to but, before then; I will look at New York and why it needs to be brought more into the forum; why yesterday’s Record Store Day should compel us all to take an interest in new artists and seek out hidden treasures; songs that deal with battling holes and pits – coming out the other side and showing fortitude. I will also explore musicians who mix in Classical tones and operatic notes with something accessible and mainstream; a little bit about spreading music into the world and getting exposure – ending on the way we can get more American artists here. Michaels was born in New York in 1990 and, since then, he has made a big impact in the city. It can be hard getting recognition in a huge place like New York but, if you have the passion and skill to overcome hurdles and stand out from the crowd, it is rewarding sticking with it. I wanted to look back at New York as it is an area we do not really hear about in the British press. Our media is still obsessed too much with homegrown sounds and, unless a big artist from another part of the world is riding high; how often do we investigate cities like New York?! I guess there are finite column inches and features; we cannot instigate an overhaul so we limit what we say regarding British music – it would be nice to see more of a balance. I love New York because its music has always been at the forefront of popular music. My favourite New York act, Beastie Boys, seemed to encapsulate the rawness of Brooklyn and the panoramic, vast nature of the state.

Although they spent a lot of time in L.A.; they knew where they were meant to be and where their music sounded natural. Other, more recent artists have shown what diversity and talent there is lurking in every avenue. From 49th Street to the rarest bars of The Bronx; to the streets of Staten Island to the packed and busy Manhattan – there is wonderful music being brewed like you would not believe! I guess there is a misconception that New York is so packed and hustling that you never get time to rest. People are often seen as rude – many prefer the easier nature of L.A. and its scenes. We can make a cliché of New York the same way as we would London. New York, and its five boroughs, is a rich tapestry that has its ugly spots: there are so many more wonderful areas that inspire the imagination and compel the heart to beat faster. It is alive and teeming; there is colour and culture spilling from every shop and restaurant. I have never been myself: music from the state is how I experience all it has to offer. There is a new breed of artists who are exploring New York’s vivid and multifarious landscape and articulating what it is like to live among its people. Who can deny the allure and mindblowing scenes one would witness when they head to Manhattan, for example? Josh Michaels has planted himself right in the bowels of New York and has been exploring everything there is on show. He has played successful gigs and drawing influence from the streets and the people around him. There is, I feel, a distinct ‘New York sound’ that seems to differ from what we’d hear in London and other areas. I have been looking to head to New York, simply because the music coming from there is so strong. Artists like Josh Michaels are hungry and want more people to know what is coming from there right now.

I will return to New York but, before then, let me have a look at why I am revisiting certain artists; how Record Store 2018 is an important event – and why we need to be more open with our music. Many might think a link between Record Store Day 2018 and an artist like Josh Michaels would be a hard link to fuse. I did not get too involved with the day – was tied to the laptop, alas – but I am one of those people who goes to record stores, not to pick up something I am overly-familiar with; I go because I want to pick up something new and unexpected. I feel we get into a habit where we surf and get our sounds from the Internet. We still buy vinyl – it is a bumper time! – but most of us still prefer the ease and convenience of the Internet. Josh Michaels is releasing some fantastic music and, whilst he has his fans and will be celebrated in his native New York; his music is the sort that would benefit vinyl release – as someone happens upon his latest single on 7”. I am not sure whether he has considered branching into vinyl territory: he would get a lot of appreciation and love from record store-hunters in New York. My point is that people like Josh Michaels compel greater investigation and love of music. There is something grand and deep regarding Michaels’ voice. He has that nostalgic ability and a sound that reminds me of the some of the greats from music. I think his music warrants a bigger audience and is something that might get overlooked online. One might argue physical sales, as a whole, are declining – how can we expect to substantiate a return to older methods?! I am compelled by Record Store Day because it allows people the chance to celebrate vinyl and look at music past and present; songs and records that mean a lot to us all. Josh Michaels is someone I can envisage looking through vinyl and exploring where music came from; how it sounds purest; why vinyl has such a great sound. I listen to his music and hear a young man who has not lost touch with the beauty of music and the purity one can get from it.

I will talk more about this subject in later pieces but, stay with me; I feel Record Store Day should not only act as a call for vinylheads to get out there and converse with their fellow obsessives: we all need to think about the way we digest music and how, on days like this, we stumble upon artists we might not of otherwise have encountered. The various in-stores and performances that happened around the world (yesterday) provided an opportunity for new musicians to reach the music-buying public. I am not sure what was happening in Michaels’ part of New York; I can imagine there was activity and excitement spilling out into the streets. There is something about Michaels – a cool and suave nature – that makes my mind leap to vinyl and a young man who understands how to entice a listener in. So many digital outlets exist: I wonder whether we are losing touch with music’s authenticity and its origins. I said I’d explain why I have featured Josh Michaels again. I love his work and, although I am hungry to look at new artists; I feel there is something enticing about his sounds and the sensations once gets when listening to him. Maybe it is his deep and rich voice; perhaps there is something in the delivery – I feel there are other reasons. Michaels has that ability to draw the listener into the song and involve them in the story. It can be hard doing that: Michaels seems to do it with ease and conviction. Every song deals with different matters and builds on what came before – there is no repeating himself and giving a samey and predictable brand of music. If Record Store Day teaches us anything; it should be that we need to spend more time with artists and their music. Digital streaming is easy and allows us to flick through songs/albums without pausing for breath. When Michaels comes to recording an album – I shall allude to that later – one hopes the purchaser dedicates some time to exploring all the songs and not merely browsing without much regard.

Josh Michaels’ latest song, Above the Water, is one whose title sort of nods to the origins. Many artists, before, seemed to look at love and everything it meant to them. I feel now, in 2018, music is starting to look more inward and investigate personal struggle. Maybe that is an over-generalisation and exaggeration: I am noticing more and more people discuss anxieties and the need to stay resolute when challenged by the pressures of life. I wonder whether that is a reflection of life and how much more stressful it is getting for us all. We have love songs still, of course, but there are so many songwriters exploring what it takes to survive and keep your head high in the world. Michaels, on his new song, has been looking at just that. He feels the pinch and knows how hard it can be getting by and staying positive – let alone succeeding and making a big name for yourself! Maybe that shift and change in subject matter is a good thing. We are told we are a more anxious and unhappy world; people are finding it hard to stay happy and there is more pressure on the shoulders. Many authorities and governments are ignoring the epidemic and so many are going unnoticed and unaddressed. I fear we are living through a time where many lives are being lost needlessly and the mental-health crisis is at an unmanageable level. That might sound dreadful and completely negative: music is here to offer some form of constructive guidance and, in addition, provide support and understanding. Josh Michaels is a musician who goes through the same strains and challenges we all do. Living in New York has its great sides and obvious benefits. I will not labour the depressive side of this argument too much: we are here to be positive and find something pleasurable. It is encouraging artists are not focusing too heavily on commercial outlets and writing aimless, predictable love songs. Many young Pop artists are addressing what they experience and how life is for them and their peers.

We all want to find music that talks about life and is completely honest with us. I love a love song – it is something we all need. I get a bit bored with the same tales of recrimination and accusation. Those songwriters who turn the pen inwards are to be congratulated. Music is so competitive and busy right now. It would be understandable to write something ordinary and safe. Many do and, to me, that marks a fear and lack of courage. Josh Michaels has written about passion but, more than anything; he wants people to see the world and modern life through a wider lens. I experience depression and anxiety myself. It is not unusual to find people who go through a lot of stress and unhappiness of a day. Music, to many, is escapism and a way of forgetting about their strains. I want a balance when it comes to sounds: music that makes me feel better about life and what I go through; I need to hear songs that explore what I am feeling and make me feel less alone. It can be hard bonding with a listener that goes through anxieties and finds it hard facing the demands of the world. Michaels knows a single song will not change the planet and many of us will still find it hard to negotiate the pitfalls and traps. What he has done, on Above the Water, is to discuss a subject that many might consider ‘taboo’. It is always hard opening up about struggles and how hard it can be moving along in life. Above the Water is not a haunted and depressive song that bemoans others and casts blame around. What we do get is someone who goes through tough moments but, rather than let them bury him; Michaels is writing it down and trying to visualise something positive. There are, sure, times when he feels things are getting too much for him.

Josh Michaels has that strength and willingness to reveal his pains and translate that into music. Many might assume he has endless heartache and pains in his life. He is, in fact, no different to many of us in the world. There are positive and negative feelings that he has to deal with on a daily basis. Rather than bury all those sensations and contrasts; he has written them down and is trying to help the listener deal with their own issues. A reason why his music is so stirring and bold is the way he projects his voice and all the emotions evident within. That has come from his Classic training and his love of bigger, operatic sounds. I love his voice and how much passion he manages to exert through his performances. There are few singers, to my mind, who manage to get that same sort of power and nuance through their voice. I am always looking out for singers who have that extra gift and magic to their music. Michaels has spent a lot of time following artists and delving through various genres. He has that love of Classic and Opera but there are Pop sounds that filter through his music. What one gets is a concoction that is hard to resist. It marries the older, stauncher angles and opens into something flourishing and florid. The way he manages to unify something exclusive and limited to the accessibility of the mainstream – that is a hard trick to pull off! I am always obsessed with the voice and what it can provide a song. It is challenging, in this time, to get ahead of the game and stand out from the competition. Josh Michaels excites me because he seems to get into the head and heart naturally. The way he sings and gets his words out sounds so effortless – I am sure there is experimentation and challenges getting the voice sounding just right.

I am keen to move on to the song itself but, before I get there; I want to look at finding American artists and how we can get more of them over here. As I type this; I am listening to a live album from Jeff Buckley – where he recorded at a New York café back in 1993. The way he managed to entrance the audience throughout those recordings; the sheer gravitas and pull of his voice and music…that is not something you find a lot of these days! He was a success in the U.S. but he found more acclaim in the U.K. and Europe. Maybe it was the fact we ‘got him’ and seemed to understand everything about his life and ambitions. The music has/had that ability to resonate ad strike every listener. Maybe it was a bit too sophisticated for the American audience – no offence to Michaels and his county folk! – but that was the way it went. I feel, since then, we have seen a few American artists succeed here and get acclaim- in terms of new music and unsigned artists. Largely, we are seeing few U.S. musicians come over here and find big acclaim. Most of the music we are exposed to – and the media promulgates – tends to be British/home-based. It is hard finding the money and demand to come from the U.S. and play over here. One cannot simply pack their things up and come over here for a jolly three-week jaunt. That kind of dream and freedom is reserved to those who are big propositions, indeed. In terms of Josh Michaels; he is someone we need to see over here. I am not sure whether he has plans to come to the U.K. and play for us. I hope he does get a chance to because, in my mind, we are not seeing enough American talent come here. That might be the media here and the limits they have; it might be the cost and the sheer commitment it takes to get over here and sustain interest. I feel many U.S. artists are staying put is because we often gravitate towards artists from our own nation. The press is responsible for proclaiming artists from all around the world: if they stick local then that means we will have a relatively limited scene. I hope there is a way for Michaels to come and play some venues over in London. He would go down a treat and add something new to the British live music scene!

The first thing one notices when listening to Josh Michaels’ new song is how immediate and stunning it is. From the very off; we have this song that gets under the skin and makes its mark. There is some guitar noodling – the sound of the string being teased and caressed – but the voice comes in and Michaels makes himself known. He urges some calm and us to remain calm and controlled. Going to sleep and counting sheep; taking moments to unwind and try and detach from the chaos and crap around us – that is hard to do. I am in the position where I want to find some lessons from music and make my anxieties feel less pressing and urgent. Michaels, on Above the Water, is a calming influence that manages to get inside the head and make things easier. One can sense the strains the songwriter has and how this song is about relaxing himself and finding a place of safety. I have been listening to Michaels for a while but now, on his new track; he feels at his most alive and captivating. The song itself keeps you gripped and, after paens to relaxation and counting sheep; you see the bird fly away and raindrop tears dry up. Michaels brings is some clattering production that mixes with a song that has a bare and naked backing. I mean, the production is surprisingly lo-fi and sparse. It means the voice gets into the fray and stands aside. It is almost like listening to Michaels perform from his bedroom. One feels an intimacy and connection with the listener you do not get from the flash studio-treated songs that layer things up and polish it beyond the point of approval. Everything, in a song about struggle and staying above the waves, is redemptive and positive. Michaels urges people to stay strong and enjoy the new day; to keep determined and see the light.

If you thought the song would stay calm and bare for long; the chorus explodes into life and you get that explosive combination of Pop sounds and the impassioned operatic vocals. The scene bursts and fireworks brim from every avenue of the sky. The song races and things get hot and, right then, the listener is lifted and transported. The sheer effectiveness and power that is portrayed in the song, at this moment, is alarming. You are brought right into things and get a physical smash. Following the hero and what he is saying; that need to get people looking ahead is impressive. Rather than retreat into the carapace and let things get too much; we see the hero stand up and flex his muscles. There are ways we can get buried and things can get too much. Bristling and inflamed; Above the Water turns into this bellicose and military march that matches pounding percussion with that all-conquering voice. Our man is talking about tears and the fact we can get bogged. The sunlight will shine through and things will get better. The chorus and brighter moments wash right over you and it is so tempting to staying in the song forever. The power and addictiveness of the track mean we will come back time and time again and find meaning in it. Ghostly far-off vocals mix with the electric guitar – as the song goes down – and you have a chance to breathe. Above the Water dips and it rises; it has that wave of rhythm and sass that builds with the beats and gets the hips moving. My earliest observations and topics may have led the reader to believe the song was going to be foreboding and haunted. Instead; it is an experience that throws the shackles and lights the sky with colours. You will listen to the song once and get that instant and undeniable thrill – you’ll come back in and witness new cadence and inflexions each time you return. I hope my words have explored the song in enough depth and with ample intelligence and eloquence. In short terms: it is a fuck*ng beast of a song!

I have spoken a lot about Josh Michaels and various sides to him. He is someone who has managed to transcend from local hero and is being seen as an international artist of note. I am excited to see where he goes from here and how he manages to build on this celebration. Above the Water is a call for those who go through tough times to stay resolute and not be weighed down. It is personal and explores the artist’s need to keep his head afloat and not be pulled by the waters. I am not sure whether he has more material planned – he is prolific at the moment – but I know there are plans in his mind. I would love to see a Josh Michaels album and know it would be popular and well-received. What I have noticed from him, since I first reviewed his music, is the passion and confidence in the voice. It is hard to succeed in the industry and it can be impossible finding time to explore and get out into the world. I hope he does come to the U.K. and play here some time. I am excited seeing where Michaels can go and what he can accomplish. He is a talented artist who writes and performs in his own way. New York is a wonderful city/state that offers chances to those who want it bad. I am not certain how music will evolve through this year but I would like to see New York getting more respect. It is a fantastic and wondrous place to discover all that music has to offer. Josh Michaels is in the midst of all this and, one suspects, trying to add his name to the illustrious list of champions and new innovators. That is what we want from an artist: someone who has that strength and wants to get far. That is only a matter of time for someone who has found his sound and has a dedicated fanbase. I will leave things here – lest I go on too much – but I am excited to see where Michaels goes and what he can achieve. His latest song is proof he is an artist who warrants more acclaim and respect. Listen to what he says and get immersed in the music. If you strip away all the strains of life and the roadblocks put before you; turn on a song like Above the Water and learn from it; it does, in its own way…

MAKE things easier.

___________

Follow Josh Michaels

Official:

http://www.joshmichaelsmusic.com/

Facebook:

https://www.facebook.com/officialJoshMichaels/

Spotify:

https://open.spotify.com/artist/0mKig0Rn4UaSJu7eT73Bdz

Soundcloud:

https://soundcloud.com/user-427547948

TRACK REVIEW: Gypsyfingers - Half World

TRACK REVIEW:

 

Gypsyfingers

Half World

9.5/10

Half World is available via:

https://www.youtube.com/watch?v=mNqJSlL3tk8&feature=youtu.be

GENRES:

Folk-Rock; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

20th April, 2018

_________

IT has been a little while since I last reviewed Gypsyfingers…

but they seem to have lost none of their step and magic. I will talk about their new song, Half World, in a minute but, before then, I have a few things to talk about. I wanted to talk about changing dynamics and sounds; duos who have a clear connection and understanding; how Folk is expanding and subverting expectations; bringing physicality and dance into music; building a reputation as live performers; where Gypsyfingers go from here; the rare inspiration behind songs. I have featured Victoria and Luke Oldfield before when they released their album, Circus Life. I was mesmerised by the record and was blown away by all the sounds and beauties working away. The rich interplay between Victoria and Luke; the incredible songwriter that mixed fast-flowing raps and luscious acoustic music. In many ways, Gypsyfingers remind me of a modern-day Fleetwood Mac. There are other artists who have similar sounds to Gypsyfingers but, when you examine the duo carefully; they have extra strands and dynamics that take them beyond the simple rivals and those who aim for something big. Circus Life is a remarkable album but, on their latest song, there is an indication the sophomore album will be even richer and more astonishing. On Half World; one gets the impression touring and extra time has added to the locker of Gypsyfingers. That brings me back, actually, two artists: Fleetwood Mac and Kate Bush. The former, in this case, can be brought in when it comes to comparing Circus Life’s sounds and what we can expect going forward…think the transition between Rumours and Tusk. It sounds like irony – considering Circus Life and Tusk have elephants in common – but I mean there is a toughening and added confidence in Gypsyfingers’ latest sounds. They have added to the brilliance and innovation of their debut album and now, listening to what they are creating now; I hear added muscle, production genius and naturalness. I cannot wait to digest the rest of their album but, on Half World; there is something magical and exciting we can digest. Luke and Victoria have been touring a lot since their album and have, in that time, sipped from the waters of current music and seen what others are doing.

They have quenched a thirst and sojourned to the studio. In the time between then and now – 2014 to April, 2018 – there has been a lot brought on board. Some might say a four-year gap is a long time between records but the time has been spent crafting something that seems natural to them. Mainstream artists are a bit hit-and-miss when it comes to leaving that sort of gap. Royal Blood and London Grammar failed to add anything to their debuts when they left a three/four-year break. The same, I assume, cannot be said of Arctic Monkeys. The Yorkshire band is back with a fresh album very soon and, you know, it will live up to the marker laid down by AM. One of the reasons I feel Gypsyfingers will satisfy the demand and justify the pause is because they have spent their time working on something that departs from their album. I can hear aspects of Circus Life on their latest single but, when you dive deeper into the song; there is nuance and sounds I did not notice before. Maybe it is the extra experience of being on the road but, when you keep hearing the song; I feel it is the strength of the lyrics and how much the song means to the duo. I said I would mention Kate Bush – I know I said I’d cool it on the Bush references but, as it is relevant, I cannot go back now. Bush saw her music expand and strengthen from her debut album, The Kick Inside – which, I maintain, is her finest L.P. – and really hit her stride by Hounds of Love (1985). That seven-year period saw her move through phases and take more control of her music. Although our duo has not had the same experience as Kate Bush; I notice a difference between the sounds of Circus Life and Half World. In a way; their album has more in common with the earliest work of Kate Bush: it is light and innovative and has that ethereal beauty running throughout.

Half World is a darker and, maybe, more mature work that has extra production layers and sees authority and confidence rule out. That is not to say Circus Life lacked oomph and wonder: I stand by the review when I said the record was one of the best of the year. Now, a bit further down the line, we are seeing the new phase of Gypsyfingers and where they are now. I will talk more about that but, right now, I want to explore duos again. If anything, duos are the most varied and nimble form of music in the world. I am articulating that a little hazily. What I mean is there is the freedom and mobility to explore new sounds and not be too beholden to festivals and what has come before. Luke and Victoria started making music together when they were dating – maybe only friends, I guess. They are now married and that would assume they’d be cemented and on the same page. One of the big reasons some bands split up is because members have different ideas in terms of direction and what they should be making. Many duos comprise married couples or lovers – that does not mean they are more secure and solid. If anything, there is a risk that closeness could compromise creativity unity. Victoria and Luke have been together a long time and have a democracy that works well for them. Whilst Luke is more involved with composition and production; Victoria is more in the forefront when it comes to the songwriting and lyrics (as she writes most of the songs). I may be jumping ahead when it comes to their writing but they each have their role and fulfil it wonderfully – even though Luke does provide vocals at times and the duo both work on music and ideas. Other duos, in other genres, have a different set-up and way of working. What connects all of them is that passion and understanding. I have reviewed the likes of Rews – a female duo – and it is that incredible friendship that leads to brilliant music.

Whereas solo artists are alone; bands are more driven by other factors…duos build their work on that close relationship and something means a lot to both. In the case of Gypsyfingers; Luke and Victoria have similar tastes and ideas; they are incredibly close and that love for one another comes through in their music. That closeness could lead to squabbles and disagreements – I have seen duos form cracks because there have been different agendas – but Gypsyfingers are one of the tightest and most together forces in music. One can detect this similarity and connection when listening to the music. I still feel duos do not get the respect they deserve. I have known Luke Oldfield a while now – he is the song of the legendary Mike Oldfield and a knob-twiddling super-producer who has worked at Toe Rag Studios – and know his past. I have been reading up on Gypsyfingers and it is their different backgrounds that, oddly, leads to that harmony and brilliance. Luke comes from a Rock background and, one feels, has spent more studio time with the likes of The Wytches (a Brighton band) and similarly heavy-hitting groups. Victoria has a Classical background and knowledge of dance. In a way – returning to my Kate Bush analogy – it is like Bush and Dave Gilmour (who was hugely influential when it came to her debut album) in the same group. You have that understanding of Rock and Alternative sounds and someone who brings expression and physical beauty to the songs. Many duos I see write in a similar way and share musical tastes. A reason why Gypsyfingers are so strong and varied is because of their disparate and eclectic starts. When you melt Victoria’s seduction, dance and beautiful voice with Luke’s production, musicianship and history – you get a fantastic brew that surpasses everything I can see out there in the music market.

It would be naïve to simply label Gypsyfingers as ‘Folk’. Sure; one can hear elements of Folk artists and acoustic sounds but they are more than that. Luke and Victoria have taken the genre and added their own musical backgrounds to the genre. On Circus Life; I noticed Kate Tempest-like Rap and Hip-Hop with Fleetwood Mac-nodding sounds. The record was full and lush; it retained its core and foundations but was not as restrictive and narrow as some Folk albums. That record was laid down at Tilehouse Studios. It is a space created by Mike Oldfield that houses vintage recording equipment and a beautiful scene outside the door. It is nestled in countryside and is perfect for those who want to study and knuckle down in the studio; relax and detach when they have finished for the day. That may sound like an odd digression but, when you hear the music; that contrast comes through. Gypsyfingers have that connection with nature and their take from the world around them. I hear that bond with nature and spirituality; the grace and perfection of the outside air. They mix that style and inspiration with what older technology boasts: a nod to past music and how artists used to work. On Half World, for instance; you hear the crackle and nostalgic pull of the production with the nature-explosion of the vocals. By that; there is a pulling together of classic and vintage music with the here and now. Gypsyfingers are not a duo who are drenched in nostalgia and want to return to the past: their music operates in the present-day but, given their upbringing and love of music; a nod to older sounds is only to be expected. I have seen many duos come and go – it seems like Gypsyfingers are here for the long run! The fact they have such depth and diversity in the ranks means they’ll have creative options for years to come. I have not talked about live sounds and how working on the road can strengthen what happens in the studio.

After Circus Life was unveiled; the duo embarked on extensive touring and visited a lot of different stages. They toured with James Blunt in Warsaw (in 2014) and did a three-week tour of Poland. They got a huge reception in Eastern Europe and were afforded the chance to connect with people who would not otherwise have got to hear the music of Gypsyfingers. They supported Tubular Bells for Two and are ready to strike on their own and get new gigs. In fact; they have Isle of Wight Festival (23rd June) booked and will head to Hyde Park BST (13th July). Those are huge dates and much deserved when you think about it! The fact they have visited new countries and fresh faces means all of those travelogues and sights assimilate into their new music. I can hear more depth and adventure in Half World. I have tipped my hat to a new album but, when the time is right, the duo will unleash that to the world. What I am expecting is something that builds from Circus Life’s expansive mind and curious heart and integrates all the threads and memories they have collected from the road. Touring and constant live gigs are reasons why artists strengthen and create their best work. I can only imagine what the duo will learn when they head to big festivals this summer. They will be on some enormous platforms and get the chance to play to thousands of people. Right now, they are in a great position and have a worldwide fanbase. All of these little boosts and bonuses have been brought into camp and go into their latest single. I will come to look at the song in time but, before then, I will remain on this theme. Many overlook how important gigs are when it comes to creativity and longevity. We are in a time when venues are closing and people fear irreversible damage will be done to the scene.

I am hopeful resurgence will occur and we will be able to retain the spaces we have out there. It is vital artists have somewhere they can play and new acts are able to cut their teeth – imagine what will happen to music if we are denied that! When Gypsyfingers hit the road – after their album was released – they had Patrick Kenneally supporting. He can play keyboard and drums at the same time – one might assume he has sticks being clasped by his testicles; the answer is a lot less graphic than that! – and bassist Tali Trow with them. Victoria, as a multi-instrumentalist, was on piano, French horn and guitars (with her vocal input) and Luke, as you’d expect, handled guitar duties and did vocals, too. That luscious and vast live experience meant Gypsyfingers were able to realise the sounds on the album and not have to compromise. After having that set-up and options at their fingertips; this has kept the creative flame burning and translated into the studio. What I hear now is even more bravery and inventive spirit of the duo. They have learnt new skills and been hit by other sounds. There is that distinct Gypsyfingers lustre and connection; it has been joined by other fabrics and feelings. It is hard to articulate, I guess – one needs to hear Half World and contrast that with Circus Life. You get all of the skills and experience of the performers in Gypsyfingers’ live performances. Victoria brings that dance and love of movement; Luke has that ear for epic performance – his old man’s influence comes into things – and, combined, there is an extraordinary show! You might wonder where the duo goes from here and how they will adapt. I cannot disclose too much regarding albums and future plans but, with a new song out; you know there will be a lot of chatter among fans. The duo has been busy since their debut L.P. and has been bringing their music to the people of the world. I am confident this year will be one of the biggest for them. There are fresh challenges and new stages to conquer; a sound that is more alive and stunning than ever – these are wonderful times for Luke and Victoria.

Victoria has expended words in regards Half World and it was her guitar experiments and noodling that sparked the song into life. One may assume, when it comes to guitar starts, it would be Luke that’d be behind that. It was Victoria’s that started things and the lyrics were influenced by news stories of migration and hostility. I am seeing artists compelled by what is happening on the news and how people are being overlooked. That title becomes apt and apparent when you think of the divisions and lack of humanity we are witnessing. The fact is this: we are living in a divided world and this is not the planet we want to see. Victoria was shocked and stunned by images from the news and how people can be so cruel. We should not live in a time when others are being discarded like trash and left to die – others have to fight their way to safety and negotiate a daily regime of bombing and violence. Victoria brought her sketch to Luke and that was then worked on in the studio. That germ and initial passion was given more body and direction when the two joined heads in the studio. The vocal ideas and marching footsteps were added to give momentum and guidance; Luke’s production gave the song unexpected elements – mellotron choir and ghostly sounds – but it all started from Victoria’s playing and observations. From Luke’s perspective; the new song picks up from where Circus Elephant (from Circus Life) ended. The big sound is aided by Pat Kenneally and Simon Hedges (bass); the song was featured in gigs when Gypsyfingers played Poland back in 2015. It has mutated and evolved since then but, from those earliest airings; people reacted and bonded with the song. The reason why the song is more relevant now is that more people are displaced and things are getting more callous in the world. The fact it has been played on the road and had the chance to expand and wander goes into the studio recording. It started life as a big, live-sounding song and has been kept in-tact in the studio version. It is a fascinating birth and progression that makes me think deeply about how music evolves and where inspiration comes from.

There are lips sour and worn by the dust and battle cries. There is a war and river running through her eyes and one gets big scenes and epic imaginations coming through. Half World begins with a gorgeous rippling and entrancing notes. Piano trickles and there is a build-up that gets into the mind and compels the spirit. It is a gorgeous and enticing opening that gets you thinking and produces an immense amount of atmosphere. Percussion and unexpected notes add physicality, emotions and new layers to the song. Victoria’s vocal is strong and focused. There is a sadness and seriousness that mixes with the beauty and sense of wonder. When one listens to the lyrics; you hear about boats left to dry and souls hovering in the sky. It is haunting to think but, when looking at the thing that influenced the song – migration and humans being left to die – you get a much larger and more striking view of the song. It is shocking to imagine people struggling to find safety and taking immense risks. The way Victoria delivers her words and builds those visions into the mind is staggering. Luke’s production and musical input give the song a physicality and depth that means every listener will involve themselves and get thinking. The video demonstrates new steps for Gypsyfingers. Their visual elements are more stirring and ambitious. At the start, we see Victoria walking along and the camera following her. That scene and setting mirror the relative calm of the opening moments. The song seems to take on personal relevance and meaning as it goes on. The heroine runs and is tracked through woodland; the visions match the lyrics and we cut between different settings – Victoria running and looking to the horizon. The narrative turns away from the news and ideas of immigration and to something more personal. She is still inspired by the need to change and make the world better – the horror and shocking scenes have made her look inside her heart and make improvements.

Maybe we all get humbled and stunned by seeing others struggle and endure hardships. We think about ourselves and wonder whether our quibbles and complaints are justifiable. The percussion becomes heavier and the piano picks up speed. The heroine keeps the beauty and passion of the song solid but heightens and flies with the song. The video sees her in woodland, dancing in the sun; we cut to a bath where she gets in fully-clothed. In the song itself; there is a tightrope and things were good until the need we/he fell off. I think of these words as a metaphor for a security and safety that has now gone. Maybe there is a personal insecurity and transition that is being documented. In my mind; there is a look out at the world and the feeling life is not as safe and happy as it should be. The world is splitting and there is a clear divide between the privileged and those who have to struggle to live. You can hear those expressions of upset and wonder – where are we headed and how will the world change?! The mind is split between the personal doubts and anxieties and projection of the wider world. There are little elements of Muse when one hears the symphonic piano and drums clash – it is an interesting brew. If the demo for the song was influenced by news stories and displaced souls; there is more working away in the studio version. Our heroine has inspiration in her heart and is going through a change. It is hard to say whether hardships and stark images have focused her mind on music and making the most of her life; whether they act as a comparison to the wars and conflicts in her life. As the striking and memorable video moves along – images of the heroine in a bath and in the expansive openness of nature – you imagine different interpretations. Half World is a song that has a clear origin but its actual meanings can be interpreted differently by each listener. I was looking towards the heroine and how she has gone through phases and now, in 2018; there is a desire to change the world and make the most of her life. She is aware of the cracks in the planet and, maybe, she is casting her voice in the body of a migrant. They are looking at a better world and hope to reach some promised land. They see the way the world could be and that chance for happiness – getting into boats and risking their lives to escape poverty and war.

The duo have been playing together since 2010 and started as the solo project of Victoria  - she was living in Paris at the time. Victoria moved to London and was introduced to Luke Oldfield. This was before they were married, you understand. He offered to produce a debut Gypsyfingers album and lend his hand to the mix. Their partnership formed and became deeper from there. Rather than it being a solo offering from Victoria; the duo became closer and, by 2013, they were a concrete and connected duo. New sounds were brought into the fold and, in 2014; Circus Life was brought into the world. It is interesting seeing how Gypsyfingers has grown from Victoria’s moniker and taken on a new life in 2018. Now; the guys now have expanded their sound and are working as a four-piece. They have recruited Tali Trow on bass guitar and have a fuller sound. I have mentioned them as a duo because I am not sure whether they will operate as a four-piece on the road or studio too – and, whether any of the notes we hear on Half World were part of the new line-up. In any case; it seems like things are evolving and growing for Gypsyfingers. Those fresh additions and ideas will add to their arsenal when they head to the Isle of Wight and play big stages this year. Half World is the next chapter in the Gypsyfingers odyssey. They have made changes since 2014 and are growing bigger and stronger by the release. I have been following them since then – I was not aware of them prior to that – and can hear new inspirations and chemistry in the music. I cannot wait to hear what comes next and where Gypsyfingers will go. They are playing gigs over the coming weeks/months and it will be chance to see Half World brought to the world. I am not sure what they have marked in regards a new album and when it is coming out – one assumes the new single is the first step from their sophomore record. I am looking forward to watching Victoria and Luke’s duo grow and tackle new areas. Half World is a fantastic and fascinating song from an act that is amongst the finest in the music world. Once you hear Half World; you will be taken away and compelled to think more closely. I have been listening to the song over and over and still…

CAN’T get enough of it!

___________

Follow Gypsyfingers

Official:

https://www.gypsyfingers.com/

Facebook:

https://www.facebook.com/gypsyfingers/

Instagram:

https://www.instagram.com/gypsyfingers/

Twitter:

https://twitter.com/Gypsyfingers

Spotify:

https://open.spotify.com/artist/77ldPpauhUXAZGYT4abA8h

YouTube:

https://www.youtube.com/channel/UCQ1x8RNElu-Zb2_UvrMm9Ag

Soundcloud:

https://soundcloud.com/gypsyfingers

PHOTO CREDITS:

Sleeping pic by Julien Weber

Jumping pic by Alexandra Cameron

Clothes rail pic by Sally Low

Victoria singing pic by Sally Low

Sitting in grass pic by Alex Cameron

Band Dressing room pic by Sally Low

TRACK REVIEW: Joseph Watt - I Did It All (ft. Scott Colcombe and Heidi North)

TRACK REVIEW:

 

Joseph Watt

I Did It All (ft. Scott Colcombe and Heidi North)

9.4/10

I Did It All is available via:

https://open.spotify.com/album/6MaoSChAlEnCl1DMhRy4Jm

GENRE:

Pop

ORIGIN:

London, U.K.

RELEASE DATE:

6th April, 2018

_________

I am taking a different approach...

to this review and offering a lot of positive suggestions. Usually, I am all-positive but, when it comes to one or two subjects, I am going to take another angle into them. I will talk about the music of Joseph Watt but, before I do, I will look at the social media spread and getting things bulked. The man has a good face and look and, with many artists, the need to see more of it is always there. I have been chided before – when suggesting artists do a bit more to get photos up – and realise there are budget constraints and restrictions that have to be obeyed. I have been looking at Watt’s online presence and it is impressive at the moment. The photos he has right now, as you can see, are high-quality and he has a great eye for the visual. He is a man who wants to make a striking impression and get under the skin. That desire for a subcutaneous impact means we have some stirring images and some good information. As we move into the spring; I would urge the young songwriter to expand his pics and, maybe, have another cool shoot alongside what is out there. His latest track is his second single, so there is a lot of chance to do more, but there is potential and huge scope in terms of Watt’s music. I know he will flesh out his photos in time but there is something unique about his imagery and the way he projects himself. The same can be said of his social media updates. He is pretty new to Twitter – one rather cool tweet – and I know he will update his fans along the way. What I would like Watt to do is think about moving more into YouTube and other platforms. I am not sure whether a video for I Did It All is coming but I see ammunition in his heart and a lot of grit.

All of my points relate to those first steps and how an artist grows between singles. So far, the man has accrued fans and is making strides in the industry. He has a fantastic sound and his story is one that will inspire many other artists. Watt already, on his latest single, is collaborating (as he did on the debut) so has bonded with other artists pretty quickly. All of this makes me excited for his future and what he can achieve. I am not sure what his plans are regarding new material – that was going to be the next point I was going to make. I have looked at both of his tracks and, between releases, I can see that boldness and bravery build. He is taking in new elements and subjects and starting to craft a strong sound. I wonder whether there is an E.P. coming and what sort of songs we can see to accompany those already out. I am a big fan of his work and, in a competitive industry; Watt is already taking big steps. I love how some lesser blogs - in terms of their views and qualities - have sent out less-than-empathic reviews on SubmitHub and Watt, in good humour, has promoted them! Not only are those websites wrong, but they have missed the point - his song is not too commercial and is standout; it is not too slow and not too radio-friendly - it is friendly to the stations that value deep and oriignal sounds. What interests me about his sound is there’s a melting between something harder and tougher – combined with a more detailed and colourful brew. I will move on to look at song subjects; moving from being a producer to a songwriter; how young artists can succeed in a fast-paced industry; future plans and how an artist like Joseph Watt can get a leg up and step further than his peers. It is interesting looking what is already on his online pages and the music he has produced. There is a lot of determination and innovation and, as he brings out new material; Watt is venturing into new territory and pushing what he does. To reflect this; one might want to see a few more snaps and one or two more Twitter bits. There are going to be radio stations calling and coming his way – they will want to keep informed and see what the young man is up to.

I am seeing a lot of new artists progressing from behind the microphone to stepping out on their own. I wonder, in this day, whether people are being encouraged to produce. I am not sure how one would get into that side of the business but I know the role of the producer is under-valued and misunderstood. Some assume it is little more than rocking up to the studio, pressing a few buttons; twiddling some knobs and making sure all the faders are set right – watching the artist play and making sure it is all recorded. Some songs bring that cliché to mind – not a lot of effort put into it – but being a producer is much more complicated and technical than all that. The producer is charged with making decisions and, often, debating with an artist in order to improve their sound. I am annoyed many do not value the producer that much and feel they are an insignificant cog in the machine. What I know is the producer is a lot more valuable and meaningful than people assume. So many great albums and songs sound that good because of the producer adding their mark. In new music; many artists are producing themselves and learning all the skills they need along the way. There is, mind, a marked difference between D.I.Y. recording/producing and producing in a studio. Joseph Watt has spent time in the studio and helped bring other artists’ sounds to life. I would love to get into producing but fear I have left things a little too long. It can be risky making a big call and affecting the sound of a record. Of course, if you get it right; that sort of decision can elevate a record to rare heights. Watt has spent time around acts like Sasha; he has co-produced and got that valuable experience.

It is not only producing that has increased the skillset and desire of Watt. He has already hooked up with other artists and gained a lot of traction mixing it up in different genres. I can understand that need to get out from behind the curtain and show the world what you are about. In terms of Watt’s own music; he has gathered a lot of important knowledge watching other artists and taking that into his own sounds. Joseph Watt’s latest single is a leap from his debut and, as he goes along, Watt is adding to that magic and acquiring new skills. I can see how much of his own self goes into the music (even if other artists take on vocal duties). I guess a lot of that talent and ability has come from transitioning from behind the microphone and working alongside other musicians. It is impressive that Watt decided to go it alone and take that risk. It could have backfired: I have seen many producers and cohorts do their own thing and lose a lot of momentum. In terms of Joseph Watt; he has sprinkled in his musical tastes and past work and produced something stunning and full-bodied. It would be good to see Watt continuing collaboration and getting in a bit more production experience. If he can work in the studio with other artists, that means he will build his C.V. and bring that to his music. Integrating new shades and ideas can only help strengthen his work. I am not sure how far ahead he is looking but, judging his latest work; I can hear that fire and passion coming through. Watt is riding high right now and setting his sights on future glory. Look at where he has come and what he has already achieved: look ahead and see where his music can fit in and how far he can go. Joseph Watt has a tough challenge ahead of him – standing out in a busy market.

I am going to get to his single soon but, before then; I want to look at ways artists can succeed and how he can get ahead of his peers. Right now; we are seeing too many artists produce the same kind of sounds and progress in the music industry based on aspects other than talent and originality. There is still a bit of a bland mass that produce something unspectacular and boring. Many are motivated by commercial gain and there are others who do not really put a huge effort into things. Too many radio stations and sites are focusing on artists who do not offer much to music and are really not doing anything spectacular. I am concerned we are in a position when the biggest and best artists around have to struggle too hard to get attention. That might be hard to sort out right now but, in the short-term; there is an opportunity awaiting those who want to succeed. The dissatisfaction and anger many are feeling, concerning that surfeit of quality, is leading to many scanning around and looking out for someone who can offer something new. Joseph Watt is one of those artists motivated by the personal and unique. He takes from the heart and puts that onto the page. I am stunned by his work ethic and the emotions one gets from hearing his music. I am looking around myself and championing artists who depart from the beige and go a lot further. Many music fans like me are tired of the same thing coming into our ears and not really being surprised by music. It is hard, I know, to get out there and separate yourself from the pack. There are so many different options – it can be hard getting a handle on things and finding out what is genuinely great. Joseph Watt is one of those artists who has something fresh and exciting at his disposal.

IN THIS PHOTO: Heidi North and Joseph Watt/PHOTO CREDIT: George Walker

I am interested looking at his 2018 and what is coming next. I believe there might be a couple more songs arriving and, whether that forms an E.P. or not, it will be good to see what tone they take and the sort of sounds included. Music is such a tough industry to crack nowadays. I have mentioned this a lot and wonder whether too much pressure is being put onto artists’ shoulders. One of the reasons there might be too many same-sounding acts is the fact it is risky stepping out of a comfort zone and taking that risk. Whether that risk is putting yourself out there or concocting sounds that do not usually hang together – few are willing to sacrifice that much. Joseph Watt could have gone down an ordinary path and have an open route to festivals. That might have been tempting and easy enough for him. I am glad the young man has taken his own course and not compromised too much. I was talking about that ‘chance’ available for artists and what is available out there. By that; there is a gap right now that needs filling. The new vogue is artists who are emotional and reveal themselves on the page. That does not mean being too open and revealing: it is more about showing sensitivity and stepping away from subjects of love and the pointless blame we cast out. Many of us want to find a sound that is rich and mixes something raw and tough with a more soulful and passionate edge. That might sound like a very particular and niche concoction but, if you think about what is already out in the industry – do we hear enough music like that? Joseph Watt has built his career on that kind of blend. I am excited to see what he comes up with next because I think, what he is offering, is just what the industry requires right now.

Before I come look at the song itself, I wanted to investigate its inspiration. There are not that many songs out there that tackle domestic drama and the role of a child in a failing relationship. A lot of songs deal with love and broken relationships; there are not that many that look at the perspective of a child and go deeper into a family whose core is starting to come away. There is a lot of blame going through the track and there are different perspectives. One hears about the breakdown and why the relationship has gone sour. Rather than have the writer talking about their experience and cast blame; there are those separate viewpoints and so many ideas working away. The song’s title, and the idea of giving it all, is investigated throughout. Each parent claims they have given it all and done everything right. The child comes into the fray and has done everything they can. You can never blame a child for a marriage split – it is interesting to see the way the song unfolds and the different views. Most love songs and those that deal with disintegration look at the one person and them casting blame. I have not heard of a song that deals with several parties and their views. It is a fascinating mix of emotions and voices working away through the track. I will look at the track itself but, before then; I wanted to think and wonder whether anyone else is doing that right now. I mooted the sort of sound we wanted to discover in the industry. We still see too many love songs coming out and the same kind of messages being projected. What we do not see are artists tackling relations and breakups in a new and unexpected way. It can be hard – especially if you do not have that experience – and most of us write about what we know. More often or not; that involves a relationship ending and blame being provided to the other party.

Joseph Watt, in I Did It All, shows a maturity I was not expecting. The latest track from him sees the child confess they have given everything and done all they could. The catastrophic and immense ending of that relationship has sent shocks through the house and left its marks. I know Watt’s upcoming music will be lighter and look at other things. The fact he is already writing about stuff like this makes me hopeful we will see something spectacular from Watt. He is a man with a different perspective on life. He wants to go deeper and do things differently from his rivals. I know there are those out there who do similar things to Joseph Watt. I have speculated what musicians need to do to stand out and what the industry desires right now. More than anything; the latest slice from Joseph Watt shows he is here for the long-term and never willing to squander his voice for something easy. As I step my way through 2018; I am trying to bond with music that stays in the mind and makes me think harder about my own life. Joseph Watt is an artist who writes from his own experiences but has an ability to craft tales and skew the facts. He mixes wonderful sounds and he wants the listener to dive into the music and take something away from it. I listen to I Did It All and learn more about myself and discover something I was not expecting. I have hinted at his maturity and, at twenty-two, he is one of those new artists who exceeds expectations and shows he is hard to predict. Looking ahead at where he can go; I predict there will be several albums and more songs that look at the complexities of fallen relationships. It is stunning seeing where Watt can go and what his next song will entail.

His current single has been gathering some heat and praise already. One hears, wonderfully, little elements of James Blake and Frank Ocean in the opening bars. Joseph Watt handles the production and writing but, when it comes to the vocals; it is his collaborators that take on the duties. Scott Colcombe is a white British artist but one hears sounds of black artists from the U.S. Ocean is the relevant example – mixed with a bit of British magic from James Blake. The introduction sees far-off vocal chorus and contributes to that sense of tingle and passion. The electronics and beats conspire and rise and there is a great choral effect that runs through the opening moments. You assume, because North and Colcombe are taking on the voices, they represent the parents in the piece. North voiced Watt’s previous song, Five AM, and adds a lot to his current track. Colcombe showcases his soulful croon and leads the track. He investigates being blamed and taking everything. There are accusations flying around and it seems he, as the dad one assumes, is taking a lot of the brunt. It is hard to ignore the way Watt’s production and musical tastes drive the song forward. I have talked about the way he writes songs and how he adds something different to the pot. He is never fully in the background and is always pushing the song on and adding his talent in. Colcombe starts things off and sets the scene. The woman wasn’t there for him and he is sorrowful in a sense of defeat. There is a sense of defeat and, as we get backing vocals and a building soundscape; the song takes on more weight and hits hard. Heidi North comes in and plays the role of the mother. She has the same mind and, knowing the man is going to say he is not at fault - she has taken the same aspect and is confessing to the effort she put in.

Watt’s aspects – maybe a tinge of a vocal and production spark; the instrumentation and inspiration – is the soul of the song and fuses the beating heart. Colcombe and North are great partners and add their own tones to the song. They are very different voices but both have an immense degree of soul in their vocals. It is hard to say who was truly to blame, and what went wrong, but you cannot overlook the role of the child and how they are affected. That, in a way, is what Watt represents. His vocal presence is minimal in that sense: his sounds and production are the third voice and overlooked victim. Watt wrote and produced the song and could have taken a large role in the foreground. He is transitioning from the realm of producer to writing his own stuff. One wonders, on future cuts, we will hear more of Watt’s voice come into the foreground and mix it with his collaborators. What is interesting about Watt is the way he can write a song and make it his own whilst giving the vocal chores to other people. North and Colcombe are natural talents who understanding everything Watt wants to project and are right behind him. Both of the leads cast blame and they find it hard to blame themselves. Maybe it was a case of the relationship running its course and neither being truly committed. At every stage; one wonders whether the child is being considered and how they play in the breakup.

The real potency comes from the way the vocals fuse with the composition. The song continues to build and mutate as the words come out. There is Gospel grace and clicking beats; piano notes that have Pop edges. I have labelled this song as ‘Pop’ but, if anything, there is so much going on throughout. It is tricky getting a handle on everything the first time you listen through. I have heard the song a few times and amazed by the intensity and beauty of the song. Watt’s production and guidance makes it a big and dramatic song – without it being too polished and impure. The unity of Colcombe and North, when they blend vocals, gives the biggest chills. They unite wonderfully and add something sumptuous into the pack. I Did It All could be seen as confessional – owning up to what went wrong – or the opposite – they gave everything and could not be seen as culpable. Five AM featured North alone and is a different beast to Joseph Watt’s new single. Now, on his latest cut; Watt has stepped up with something more emphatic and luscious. North owned the debut but, with Colcombe on the new song; that partnership adds something extra. I wonder whether future material from Joseph Watt will feature these two artists – or the man takes on lead vocals and goes in another direction. In any case; I Did It All is another fantastic song from an artist who is exploring new ground and writing music like nobody else out there. The industry needs someone as individual and strong as him right now. I predict the young master will go a long way and succeed. He has a great ear for choruses and melody; his production skills are ace and, with every move, he is gaining new skills and expanding his horizons. Lord only knows how far he can go and what he can achieve before the end of the year. His faithful collaborators have elevated I Did It All to heavens and make it a song you will not forget in a hurry!

Whether you put Joseph Watt’s songs in upper-case or not – I prefer the latter – you cannot deny he is a bold and impressive act. Five AM, his previous song, was one that struck the mind and one that I covered. There is a lot to recommend about Watt and what he is doing at the moment. I know there will be more dates coming but one of the best things that strike my mind is his bond with artists like Heidi North. He spars well with every artist he comes across: his connection with North is special and it might be interesting were they to work with her down the tracks. The production eye and that ease of conspiring means we get full and assured songs from an artist just starting out. I am compelled by his songs and how much he has already accomplished. There is this illusory perception that the mainstream and Pop artists are ruling and essential. That music might be what gets the Spotify streams and buzzes on the biggest radio stations. I am not sure why people value popularity and commercialism over authenticity and something more emotive. In any case; Joseph Watt is an artist who has a long future ahead of him and doing something not many others are. If you have not discovered his music then make sure you get behind it and involve yourself. I have mentioned the need for a few more snaps and information. There is curiosity out there so, to get into the minds of stations and festivals; having a new shoot or some more tweets out there would add to that authority. I have loved listening to Joseph Watt’s new songs and loo with interest at where he can go from here. Let us end things there and congratulate Watt on a great song and strong offering. I Did It All shows he has the determination and talent to go all the way in the music industry. The parties in his current song confess to giving their all and not taking anything for granted. That is a sentiment you can apply to…

JOSEPH Watt himself.  

__________

Follow Joseph Watt

Facebook:

https://www.facebook.com/JSPHWTT/

Twitter:

https://twitter.com/JSPHWTT

Spotify:

https://open.spotify.com/artist/4CQzuUaN2ap9k9NNQxswhi

TRACK REVIEW: Laish - Dance to the Rhythm

TRACK REVIEW:

 

Laish

Dance to the Rhythm

9.6/10

Dance to the Rhythm is available via:

https://www.youtube.com/watch?v=9ihY8frdo18

GENRES:

Art-Rock; Acoustic

ORIGIN:

London, U.K.

VIDEO RELEASE DATE:

29th March, 2018

The album, Time Elastic, is available here:

https://open.spotify.com/album/3HJBOLvvgSBDcJMzOYzvoD

RELEASE DATE:

13th April, 2018

LABEL:

Talitres

_________

THIS is the time of the year…

when the sun starts to rouse from its slumbers and gets its bottom out into the working world. So far, it has been like a student during the first year of university studies: occasionally nipping into lectures but, for the most part, pissing it up the wall every night and spunking its student loans up the wall! I am not sure where that analogy is going but my point remains: it has not been showing its face as frequently as the average pasty Brit would like! That being said, today, there are ample signs to show spring may be, briefly at least, here! I have got my favourite new T-shirt out and am priming the arms for some much-needed warmth. To accompany my sojourn into springtime; I have been searching around for a soundtrack that can accompany all the moods I will assimilate into my movements. I am going to do a bit of a John Travolta strut; I will wistfully contemplate the changing seasons and, yes, I need something to provide some smile and curiosity. Alongside that, there is the desire to have the spirits uplifted and the mind nourished. That is a rather demanding rider but, right in front of me, is an artist I have reviewed once before: Laish is a fascinating talent whose almost-too-perfectly-trimmed facial hair is as spectacular as the music that emanates from him. Before I look at his new album – highlighting the featured track from it – I will address a few other things. I want to look at the city and all the wonderful things that intrigue and spike the mind; radio features and getting attention from some big sources; having incredible promotional videos back your music; the ‘northern spirit’; I will look at the way musicians can cram so much life and range into an album – touching on my desire to have a bespoke, all-encompassing music show on T.V.

‘Laish’ is the moniker of Yorkshire-born Danny Green and, to start, gets me looking at the North and the indomitable candour and grace of its people. My mind has been split between a move to South London: either that or locating to Manchester. I adore Yorkshire and, as part of my plans, want to visit a lot of the artists who play there. I have always been a massive fan of that part of the U.K. There is a natural inventiveness and variegation that exceeds expectation and tops that coming out of London. Laish moved from Yorkshire – he brings that homegrown wit and talent with him. One of the reasons I want to move to Manchester, aside from the warm people and humour, is the music coming out of there. Many critics and listeners overlook the North and the music coming out of there. This year’s best album, in my view, will be released by a northern-formed band: Arctic Monkeys look set to unleash the record 2018 demands. Even though Laish has replaced the rolling hills and splendid tea of Yorkshire for the too-cool-to-speak-to-you hipster bars of London and its irascible energy; he has translated and retained his key attributes and northern wit. That humorous dynamic has lifted his music from the realms of the ordinary – taking it to new heights and providing the listener with something smile-worthy and character-filled. His new record, Time Elastic, has been pressed by the respected (French) label Taitres and shows his music is unique. I have been casting my fishing net out into the musical lake and have been seeing a lot of sad-faced fish with no real colour and nutritional value. Now, as the sun is out and the water is clear, I have caught Laish and see something wonderful: great skin, eye-catching shades and a nice big grin. Maybe I need to lay off the early-morning shot of caffeine but I stand by my assertions. This year has seen some oh-so-serious music: the artists who provide a bit of fun and energy are in the minority.

I will move on to look at other areas but, before then, I want to stick with northerners and humour. I am not suggesting all musicians crack out the comedy numbers and do something funny. Laish is a serious artist whose music and mannerisms are special and multi-layered. What he does is go beyond what most listeners expect and chucks in a cart-load of bright and optimistic. His songs look at life and all the issues we face – struggling with love and the self; negotiating the hurdles of the city – but, rather than make it all mordent and gloomy; the sun is out and one is treated to something more accessible and nurturing. I guess there is that heritage and elements of the North that help bring the music beyond the pit of weary and samey. Laish’s mindset is clear: put out songs that people can connect to but will not bring the spirit down. This year has been a tough and challenging one for us all and, as we try and see what the world will throw at us; music is there to aid and assist our decisions. I have been pining for an artist who has that rare mixture of incredible lyrics, bright textures and a depth that the soul demands. Laish has been around a while and seen where there is a gap in the market. There has been a real lack of engaging and nuanced music that strays beyond what is out there and offers the listener a real burst of originality. Maybe it is the way he has transitioned from the North and located to London that has added all these fresh fabrics and tones to his music. The young artist has accrued a lot of experience and visions into his work; he has progressed between works and now, in 2018, he is making music that sets aside from the rabble and stays in the brain.

I have alluded to the city and how its energy and mix of people can lure and attract artists. Even though I am deciding between London and a move further north; it seems Laish has found his niche down in the capital. He lives with his girlfriend, instruments and, one suspects, a pet is in there somewhere. It seems like a very idyllic and comfortable life for the musician. What that provides is a security and inspiration that has bled into his music. Green’s movements and sense of ambition comes from the people around him and that established and life-giving core. I can imagine the flat Laish’s creator resides in: there would be the guitars hanging on the wall and an amp somewhere, perhaps. One might expect a piano in the corner – with some character and age; a cup of coffee nearby – and some great records propping up a turntable. Outside, I can envisage the rush of London and a rather charming backdrop. This might sound like the opening page of a Richard Curtis script but, when thinking about Laish’s music, London has fuelled his imagination and impacted the music. I am not saying, were he back in Yorkshire, he would not have access to the same humans and wonderful scenes. Laish has great venues at his door and some wonderful creative talents right in front of him. One of the reasons I have been looking to South London is the population: all ages, races and nationalities living together and integrating in the community. You have that blend of hectic and busy and places to escape to. For a songwriter; that choice and excitement can only seep into the body and provoke fantastic music. Danny Green has carried his Yorkshire heart and borrowed the bones and body of London. That anatomical cut-and-shut could, in lesser hands, be a mismatch and incompatible beast. Instead; it is the perfect conspiracy that has infused the music world with something rare and divine.

Maybe I am blathering a little but I have always been caught by Laish and how he does things. I will talk about his album in the conclusion but, before I move onto other things; I wanted to look at directing and how great collaborators can elevate music. I have talked a lot about Laish’s background and D.N.A. – without going into the music itself and reasons why it resonates. One of the reasons I have selected Dance to the Rhythm is because it seems to epitomise all the pluses and sides of Time Elastic.  Green has always been a master of splicing emotions and a world of different themes into his music. 2016’s Pendulum Swing was a bold and varied work that stunned critics and showed how far Laish has come (since his debut). Time Elastic goes further and shows the songwriter at his brilliant best. The last time I featured Laish was when he unveiled the single, Learning to Love the Bomb. That was from his previous album and (its video was) directed by Ruth Pickett. I know her work to be good because, some sixteen years ago, I encountered her work, first-hand, at Cambridge. She was one of the brightest bulbs in The Footlights and stood out from the other performers in the society. Her repertoire mixed music and comedy; she had/has great dramatic chops and sprinkles the odd and charming alongside the grounded and gravelled. That curiosity and exceptional ability has mutated into screenwriting, directing and acting. She has retained comedic elements and that sense of fantasy in her directing. There are some great female video directors out there – they are not as proffered and exposed as they should be. The reason I bring Pickett, and directors, up is how a faithful and natural unity between artist and director can bring music to new audience. I love the video for Dance to the Rhythm. It has that low-budget brilliance but that does not squander ambition and visual delight.

PHOTO CREDIT: Mike Watts

What Pickett and Green have done is create something that stands out on its own. I cannot listen to the album without going straight to the single. Maybe it is the incredible sound and songwriting throughout: to me, there is that visual wonder and the way I associate the video with Dance to the Rhythm. You have to watch it to see what I mean but it is the visuals and scenes laid out that give the song a fresh brilliance and sense of memorability. There is a trust between director and performer throughout. I know, from seeing social media posts, the filming process was hugely enjoyable and a great experience for everyone involved. The shoot sees the bizarre and humorous integrate and conspire inside a London flat. Whilst it is easy to imagine songwriters’ personality and charms within music itself; great music videos showcase more and help clarify and cement that assumption. By that; I mean we see a new side to the musician and how they want their music to look. There are so many bands and artists who put out quick and lazy videos. Some put thought and invention into their work but, for the most part, I pass by what they throw out there. In fact, LUMP (a side-project of Laura Marling), have just released the video for their debut single, Curse of the Contemporary.  It is a charming and wonderful video that, well…you’ll have to go and see it. Those videos that stand out and make you watch it time again are very rare in this day and age. I will come to look at that a bit more but there is an innate visual aspect to music. An artist can project a sense of theatre and the visual through their words – they turn that to a director and it is their job to bring something new from the song. One of the reasons I wanted to highlight Pickett’s work was the fact she can work on a smaller budget but does not compromise the artistic and visually-arresting.

Laish’s music is bold and sumptuous; it is a complicated and bountiful aroma that requires intelligent and respectful handling. Directors who mangle his work or conceive dull treatments are going to damage that track and put listeners off. Pickett has picked up on something in the music, and Danny Green, and been able to bring her personality into the fold. It is hard to quantify how many people have turned onto Laish’s music because of the videos – mere YouTube figures do not give you a clear and reliable guide. We often ignore the music video and assume it is not going to be worth watching. The past few years have seen very few out-and-out classics from that side of the industry. Directors do not have deep pockets and, unless you are a mainstream artist, you cannot afford to realise your most lurid, heightened and ambitious dreams. Many directors will work on a three/four-digit budget and have to deliver the goods with little luxury. I hope Laish and Pickett work together more because their unity is one that results in fantastic videos and memorable scenes. Both have the disposal and endless resources of London right next to them. There are lush parks and packed streets; historical monuments and some of the most arresting sights in the country. The fact the two can create wonderful videos – with the help of a crew – in the recess and comfort of a medium-sized flat amazes me! There is something, mind, about the aura and peripheral of the London buzz that filters into the nostrils of Pickett and her team. She has years’ experience and work in her toolkit and is an accomplished comedic performer and dramatic writer. I hope her expanding chops and confidence sees more fruitful Laish work. Danny Green, actually, seems like a natural and charismatic presence in front of the camera – maybe, a short film featuring him would be a natural next move?! In any case; I am hooked and compelled by the latest music video from Laish.

I will come to the song in question but, when thinking of Laish, I cannot help look back at his achievements and how many sources have turned onto his music. It is fuck*ng impressive looking at the roster of radio stations who have spun a Laish cut. BBC Radio 6 Music has been pretty involved with his music. Steve Lamacq, Tom Robinson and Tom Ravenscroft have played his music and backed his work. Amazing Radio and other great stations have shown their backing of a great artist. It is hard getting people to play your music but there is that combination of dogged determination and natural talent that has led to this proliferation and accomplishment. Green, as a person, does not want his music to sit on the shelf like a misunderstood sin. Once the track has come out of the studio and been laid down to tape; he could easily let it fester and not really push it out there. He is active on social media and ensures every Laish movement gets as far as it can. He puts out his music to radio sources and lets people know about his work. There is that determination and need to get the music out the people and spread it as far as possible. He has achieved a lot already but, with Time Elastic fresh and hungry; I expect the likes of BBC Radio 6 Music will be behind it and features the singles released. I am not sure whether they have already played Dance to the Rhythm already – surely, only a matter of time before it gets played! There are few musicians who have been taken to heart as firmly and readily as Laish. I am compelled to see how far he can go and what his next moves are. So far, over the course of his career, he has been championed by British sources – I know international recognition and U.S. dates cannot be too far behind! I have talked enough about Laish and components that make his work stand out from everything else. I will come to look at his album but, right now, a look at a song that has caught my eye.

The track’s video sees the hero, in a wife-beater/vest and casual attire, move through his flat and sit on the sofa with a girl (his girlfriend?!). The song itself looks at songwriting and is very meta, in fact. His girlfriend – whether Danny Green is cribbing from a real-life conversation – has suggested he writes a song with a bit of a chiming and, I guess, banal cooing and chorusing. Maybe that is ironic and tongue firmly in cheek but, as Dance to the Rhythm starts; Laish talks about something commercial and peppy. Maybe the suggestion is aimed at producing something hopefully and happy; a chance to get the listener lifted and the radio smiling. Maybe there is that need to write something commercial and Pop-inspired. All these thoughts entangle and wrestle in a sweaty and sexual tussle as those calm and Noah and the Whale-influenced tones come through (there is a bit of Charlie Fink in Danny Green). The backing vocal and aural rush are infectious and gripping. There is a blast of 1960s Pop and something uniquely Laish; the vocal has a seriousness and masked expression to it – maybe, reflecting the fatigue and dubiousness of the hero. The girlfriend, proffering ideals of fame and celebrity or a need to get the song out there, is talking with the hero. She says (the song) will get onto Spotify and be sh*t-white-hot by this time next year. Laish turns to the camera and gives a look that one might give if they were given a box of elastic bands for their birthday: that mock-sincerity and forced smile. Maybe there is cynicism the song is intended for the hype and chundering (sic./sick) mechanics of the modern machine. Laish wants people to listen to his music but, perhaps, not intending it to nestle alongside your Ed Sheerans and Cardi Bs. The heroine is excitable and showing faith: our man seems more comfortable in his undercrackers and sharing a brew. Maybe that is a bit of Yorkshire dour and realism creeping into the bloodbuzz and commercialism of London – he does not want to think too far ahead and get carried away.

The song itself seems like a study and exposure of the creative mind and questions posed by labels and higher-ups. The moral of the song seems to be adding hooks and melodic sensibilities to the pot. The hero, in the video, is reading a book of lyrics/guides and nodding effusively. He wants to pen a song that has a sexy rhythm and gets the average body motivated and boogying. There seems to be irony and a bit of humour in the seriousness of the words. Laish is a great songwriter who does not pen his songs for the ultra-cool and those who want empty calories and untutored vowels. He does not create mindless choruses and songs, merely, that get the listeners grinning. That said, on the latest single; our man has crafted a flowering and heady nosegay that mixes ingénue backing vocals that has sweetness and infantile delight. It is great listening to a song that is about the nature of songwriting. One would listen to the song and feel the video is crying out for the likes of Michel Gondry – someone who would relish the chance to bring something to a song that looks at songs; bringing quirk and the visually-stunning to the mix. The reason I love Ruth Pickett’s direction is because it brings personality and the filmic from a small set and a physically-limited movement. Most of the action takes place around the sofa; relying on props, the bond of the lead actors and the beauty of the song. In fact…scratch that last bit! An alluring Devil’s claw (Pickett herself, I believe!) comes into frame and tempts the lovers into another world. The set transforms from a modest and homely – code for ‘lived-in’ – and places the sweethearts in a palatial and luxurious mansion. They are decked in finery and exquisite fashions; strangers to the value of the setting – a representation, I gleam, of commercial sacrifice and adding needless glamour and expense to a song that holds weight in its simplicity and honesty. Although the hero seems comfortable and acclimatised to thrones, Georgian makeup (almost like a George IV figure at this point, minus the enormous gluttony and gut!) and servants. The hero looks at love and how his life will progress.

PHOTO CREDIT: Michaela Meadow

One feels he is living a life that seems predictable and predetermined. There is that sense of living for someone else and doing what everyone else does: settling down and having children. In fact, Laish gives a wonderful Jarvis Cocker-esque “Why not?!” to camera upon that proposition. It is another nuance and angle that shows what a personality and sense of songwriting ability he has. The chorus swigs back in and Laish is backed by dancers and enthralled supporters. His wardrobe changes from that nineteenth-century grace to something a little more casual. He has the look of Jay-Z’s barber crossed with an extra from a Disco-inspired flick from the 1970s. He is getting more used to the changing landscape and adapting to the excesses and exhilaration of fame. To me; you get the view that, if you pen something danceable and energetic, you can get a number-one and rake in money. You would sell your ethics and talent for something more profitable and populist – how would the soul cope with that deal?! The sets get more elaborate – Laish transforms into a P.G. Wodehouse acid-trip – and the man, flanked by pipe-playing peeps and an elegant cane gets into the groove. The simplicity and bare-naked domesticity of the opening have transformed into the arresting and beguiling – adding an extra ‘0’ to the video’s budget, no less! The song seems to look at the lifespan of a song and the questions that come to the mind; how some sell-out and others have to make those compromises. Laish seems less resistant, and less happy when he gets big and popular. The track’s assessment of fame and commercial demands sees him bat away a Devil hand – not as tempted to follow this time… - and project a cooing chorus with less determination and passion as one would hope. Dance to the Rhythm is a wonderfully compelling and fascinating song from a talent who seems to get finer and more ambitious every time he brings out an album. It is a perfect embodiment of the wit, arresting colours and wonderful sounds one can experience throughout Time Elastic.

I have talked about music T.V. shows and why we should get a decent one on the box. Sounds like Friday Night is on and, well…it is aimed at the Pop market. We have Jools Hollands’ established and years-running show but there is nothing new that expands from that and features a range of musicians. The reason I bring this up is because Laish seems perfect for a retooled and rebranded music shows. I feel his music deserves television exposure and, with the video for his latest single out; many will see how he mixes visuals and music to great effect. His sound is unlikely anything else out there and warrants a huge and dedicated audience. In the past, we has music T.V. and it was much more popular and influential than it is now. I wonder whether YouTube is sufficient and (if) it gives musicians the reach and attention they deserve. I would like a brilliant new music T.V. show out there that captures the spirit of The Old Grey Whistle Test and would be a perfect fit for Laish. I will not speak in-length about Time Elastic – lest my hands fall off and I need reconstructive surgery on my buttocks – but the record is full of life and brilliance. Look at some of the songtitles – Listening to God, University and I Would Prefer Not To – and you are compelled to listen to the track to see what it is all about! It is a fulsome and expansive album that touches on a number of themes. There are those sides of love under-explored and look at the soul; introspective moments and the passing of time. The album’s title, in fact, raises questions around mortality, youth and our time of life. It is a wonderfully rich and candid work that has plenty of wit, intelligence and musical highlights. I urge people to check it out on Spotify (see at the top of this review) and investigate every track. I know Laish plays Brighton and London in the next few days. He is off to Newcastle and Bristol soon – heading over to France by the end of the month. Look at his Facebook page (see below) for all the updated news and gigs. It has been great returning to Laish and investigating a stunning song: Dance to the Rhythm is another marvellous cut from an artist who continues to produce music…

LIKE nobody else.  

_________

Follow Laish

Official:

https://laishmusic.com/

Facebook:

https://www.facebook.com/laishmusic/

Twitter:

https://twitter.com/LAISHmusic

Instagram:

https://www.instagram.com/laishmusic/

YouTube:

https://www.youtube.com/user/Laishmusic/videos

Soundcloud:

https://soundcloud.com/laishmusic/sets

Spotify:

https://open.spotify.com/artist/7t8yI4NdwroxLKOeffJ1B4

Bandcamp:

https://laish.bandcamp.com/

TRACK REVIEW: Equals - Letter to Leave (What Can I Say?)

TRACK REVIEW:

 

Equals

Letter to Leave (What Can I Say?)

9.6/10

Letter to Leave (What Can I Say?) is available via:

https://soundcloud.com/theequals/equals-letter-to-leave-what-can-i-say

GENRES:

Soul; R&B

ORIGIN:

London, U.K.

RELEASE DATE:

5th March, 2018

The album, 1997, will be available from 27th April, 2018

_________

THERE are few artists…

who have created an album as busy and relevant as Equals. I will look at the themes and ideas that go into 1997 soon but, before then, a look at James Low and Ade Omotayo’s work, progress and dynamics. I wanted to look at artists who influence a record; working your way through the ranks; having guest artists feature on an album; studio meticulousness and putting your all into it; standing aside in a busy city like London – ending with a bit about album themes and what we need to discuss these days. I am writing a piece, later, about London violence and how it is going to impact the lives of musicians there. It is hard, therefore, for any musician who is based in the capital. Naturally, there will be fear and nerves: in the case of Equals; their upcoming album touches on the changes in society and how things are developing. They look at the media and communication; the way the city is altering and harder times for us all. In many cases, London is providing optimism and rushing inspiration. The communities and busy neighbourhoods cannot help compel songwriters eager to put pen to paper and represent something different. It is impossible living in a busy city and not being affected by what is happening around you. Equals do look at passion and connection but, for the most part, they are looking around them and what is happening where they live. I have written pieces recently that compel my mind away from London. There is a lot of musical attention flowing the way of the city – the desire to get people’s minds further north is an ambition of mine. That said; you cannot overlook how impactful and variegated London is. In the case of Low and Omotayo; they live in the East and are creating Electronic Soul music with heart and depth. I will look at artists who have influenced their sound but, right now, a nod to East London and how its people can inspire creation and betterment.

My mind is trained to the northern areas of the U.K. I am looking to move up that way but, inevitably, London is always in my mind. I love East London and how vivacious and varied it is. I live in an area where there are few different races and nationalities: East London is a bustling and multinational area that promises heady scents, trendiness and opportunities. I have been in East London from time to time and always get the same impression: there is a magic and energy you do not get anywhere else. It is understandable the Equals boys would take from the streets and the people; look around them and find some guidance. Even though their album addresses societal changes and the need for betterment; there is a strand of music and production that puts my mind on the streets of East London. I know there is a big Electronic and Soul vibe around those parts. The capital still plays a huge role in modern music. You cannot avoid all the musicians and developments happening in London. I will move on in a bit but I get the sense, when listening to Equals’ music, they are reflecting all the complexities and discussions one might experience. I am excited to see where Equals go and what sort of London gigs they can get this year. When 1997 is out (on 27th April); there will be demand and attention thrown their way. My mind is back in London and with a duo who have created something very much suited to the times we live in – much more inspiring and thought-provoking than any other album I have heard this year (from new musicians). We can never figure London out and assume we have it all nailed. There are so many different sounds and artists playing right now. I hate how it gets all of the attention and few media sources are unable to cast their mind away. What does bring me back in acts like Equals; guys who can create something wonderfully rich and busy.

I will talk about the duo as a whole but, when thinking about Omotayo; he has had quite a productive and impressive rise to prominence. I am interesting in artists who start from humble backgrounds and work their way through the ranks. Although Omotayo did had to start from modest starts; there are few who can claim to have sung backing for Amy Winehouse! Most artists do solo work and perform at open mics. Not many have the chance to perform alongside one of the biggest artists in the world. Even though Winehouse is gone; what she taught Omotayo is priceless. The Equals member was a backing singer for Winehouse through her entire career. That sort of relationship and experience must have been something special! Not only would he have learnt from one of the best Soul voices of our age; the gigs and experience of being on stage go straight into Equals’ work. It would have been amazing being a fly on the wall of Amy Winehouse’s dressing room. Those conversations and pre/post-gig chats; the sort of sensation she projected from the stage – the resonance and reaction from the crowd. The young Omotayo would have been agog at her power and prowess. That is not to say the young backing singer was overshadowed by Winehouse. His contribution was essential and pivotal in regards her success. What interests me is how many other artists he performed alongside. He has featured on records by Mark Ronson, Kindness and Quincy Jones. Recently, he toured with Gorillaz and has been a busy man! Those sorts of experiences have led him to where he is now. That high-profile experience cannot be underestimated at all. You can hear the confidence and sense of exploration in the work of Equals. Low, instead, had a slightly different path through the musical ranks. He has grafted hard and played with bands – including Submotion Orchestra (more on them later). The two members have combined their memories and attributes and, in Equals, crafted something sublime and affecting.

I am interesting charting the progress of artists and how they get to where they are. There is something about the way artists progress and grow that really compels me. In terms of solo artists and duos; the path might be very different to that of bands. If you are lucky enough to tour with other artists and get experience of working with them on the road; that is invaluable education you can bring to your own music. As I say; not many have been lucky enough to tour with someone as big as Amy Winehouse. In any case; you cannot discount the way those touring and performance experiences add to your own music. Looking at Equals and their members have taken what they learnt on the road; they have brought that into their own music and combined it with the artists they grew up around. I will talk about influences and artists one can hear in their sounds but, right now, a little more on working alongside other artists. Many artists, who create their own music, are inspired by their upbringing and music they grew up around. Those sounds can influence what you write and how you come across. I feel collaborating with others can add something special and original to your work. I am not saying artists who do not combine with others lack any difference and depth; those who have the extra layer and luck of performing alongside others are given some different ammunition and direction. Not only that, but there is that element of performance and seeing how an audience reacts. Equals’ members have combined their skills and collected times and added to the music we hear now. Because of that; 1997 is an album that bursts with life, different angles and colours. It is a rich and rewarding work that strikes the mind, heart and body. So much is happening in every line and song. That richness and sense of attraction come from artists and sounds who have influenced the duo.

The boys have said Solange’s A Seat at the Table and Kendrick Lamar’s To Pimp a Butterfly influenced their own album. Those might seem like lofty names to throw into the pot – the guys work with the bones of those records and create their own version of them. What they mean is both records combine skits/segues with raw and inspiring music. I love both albums but am especially fond of Lamar’s masterpiece. That mixes Jazz and Soul with essential Rap and Hip-Hop power. The album brims with political and social commentary; some superb spits and sublime couplets – all levied and guided by the singer’s incredible voice and command. Solange’s album is a more passionate, but no less raw, collection that reflects the world she lives in and the struggle of women and the black community. Both are albums from U.S. artists, recorded and released into a world where discrimination and discontent are at an all-time high. Here; we do not have the same prolific Soul and Hip-Hop artists as America. We do have masters in other genres but, when it comes to comparisons to Solange and Kendrick Lamar, we are a little bit light on the ground. It is rewarding, therefore, to see Equals emerge and create an album that puts one in mind of those U.S. leaders. The Equals guys concede they are not equal to the merits of those two titanic albums – they are doing themselves down a bit! – but they have confessed the way various styles and genres are united in a record; the fact there are spaces to create little spoken word things and skits; an open and broad canvas where they can explore the world around them – that is what they are talking about. It is fascinating looking at 1997 in the context of, say, To Pimp a Butterfly. I know we have social commentators in music, here, such as Shame and IDLES. They are bands who work more in the Punk realm. I have been looking around for something with the same urgency and impact – that has a more soulful and inventive edge.

Not only were Low and Omotayo worked through music and had a busy time of thing; they have managed to pull together some incredible collaborators and musicians for their album. 1997 has a very distinct set of guide notes – I shall come to in a bit – but the songs are brought richly off the page and into people’s minds. That is, for the most part, because of the duo and what they bring. There is another strands working away: the power and diversity of the guests that appear. Members of Submotion Orchestra and the Bonobo band bring in their sounds; Ghosttown and Loxe (producers) add something different – there are fascinating little diversions and rare sounds that come in when you least expect. It is understandable the guys would look to others to get their album together. The boys worked hard in the studio but, given the themes being explored and the intensity and passion one hears throughout; having other voices and ears in the album elevates the material and helps bring the songs to life. That is not to suggest Equals lose identity and are in the background. They are very much in the forefront and use their collaborators effectively and economically. I love how Equals have come from their different paths and joined together. Now, when creating 1997, they have brought in other artist and taken another big step. The boys are on peak form right now and created an album the modern world needs to experience. I will talk about their latest single and a song that has some very personal relevance to it but, before then; it is worth investigating and exposing the sort of ideas that go into their L.P.

What one notices, first, is that title. 1997 is an album that takes me back to a time when Labour came in and things seemed to be on the way up. I remember Radiohead brought out OK Computer and seemed to reflect that uncertainty of the current age; the hope of a new government and the need for improvement and change. Tony Blair came into government and promised big changes and progress in the country. The people needed it and, looking back, one wonders whether he made good on his promises. Now, in 2018, we are in the grip of a Tory government and a P.M., Theresa May, who seems to absent and ignorant. That shows my political colours (Labour) but she seems to represent the voices of the white middle-class. That is the way politics have developed since 1997. Our leaders are less concerned with the needs of the common citizen and representing everyone. I am not saying Blair’s government were more inclusive but there was not the same ignorance and sense of passiveness we see with the Tory incumbent. There was great hope and the sense of sea change when Blair swept in over twenty years ago. We wanted a seismic shift and a leader who could articulate the needs of the average member of the community. Government should be able to listening to everyone’s voice and fixing big problems we see. Instead, over the past twenty years, we have been in a quagmire and not being listened to. Blair delivered on some of his promises but his impact was not as strong and lasting as we could have hoped. A slew of Tory mistakes and selfish decisions have plunged us deeper into a quandary. Equals claim the scolding and fundamental basis for their album was the writing and teachings from Mark Fisher’s text, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. I am not familiar with it but know there are sage words and eye-opening truths that compelled the guys to create 1997.

The songs on the record, conversely, look at youth and modern energy with the fatigue and repeated blandness one sees on the high-street. Psalm for the Shadows looks at the way identikit streets are happening around us. One could say that is gentrification or the way people are becoming boring and samey. East London has more vibrancy and colour than most parts. We all know the provincial and bland areas of the country where you see the same shops and bars coming into view. There is no identity and sense of purpose and character at all. These demands, one feels, is because of the sort of people who move into these areas. People are becoming more gentrified and middle-class; the working-class population are not getting much of a say and, if anything, the young generation is becoming numb and accepting the boredom around them. Maybe that is the way the Internet and social media have gripped our lives; the fact we are communicating less and not as involved in political change and local development as we should be. There are endless T.V. remakes and cover versions of cover versions – both are reflected by Equals on the album. We are repeating things and getting stuck in this conveyer belt-like way of living. Instead of doing something new and ensuring our streets and cultural experiences are fresh, all-inclusive and interesting; it is a lot easy to toss off something lazy, quick and unambitious. Equals see this carbon copy society but know, ironically, we are never bored because we are always trying to better ourselves and stay active. All we have to show for this is exhaustion and depression. Maybe that is the way social media offers this synthetic reality and chance to ‘connect’ with people. Few of us are getting out into the world and refuting the lure of computers and the Internet. Modern life, more and more, is getting less physical and human.

We are remaking T.V. shows and music but are a youth-obsessed society. Perhaps we listen to older music and remake older T.V. programmes because we are harking back to a different time. Things were a little simpler and seemed less fraught and damaging twenty years ago. The Internet was around then but pre-dated streaming sites and the rise of social media. I look back at older music and prefer listening to it. That is not necessarily down to nostalgia and wanting to live in the past. Ironically, I feel older music sounds fresher and has that durable and incredible sound. We have great artists now but the fact we are remarking and repeating so much, inevitably, brings my (and many) mind back to the past. The guys have created an album that looks at British streets and the need for political change – casting its net to the wider world and changes we all need to see. These hard-hitting and eye-opening themes are wrapped up with quick beats and smooth vocals; some intense moments and interesting fusions. The guys have this studio meticulousness that reminds me of the likes of Steely Dan. I am not sure whether Equals listen to Steely Dan but the same way Walter Becker and Donald Fagen slaved and spent hours on songs make me think of the London duo. Even though the guys have worked tirelessly and spent a lot of time crafting the songs; nothing feels forced, exhausted and too polished. 1997 needs to get under the skin and provoke discussion. It is a record that, like the best of this year, goes beyond the personal and talks about something real and meaningful. I am all for love songs and that sort of thing but they are quite restrictive – it is not always easy to find sympathy with the writer. The guys have crafted something that is based in 2018 but looks back over the past twenty years. How far have we come? Are we are a stronger nation?! What has happened to the promises and sense of hope we were offered back in 1997?!

I mentioned how Letter to Leave (What Can I Say?) holds sway and personal weight for Equals. Low is a vociferous opponent to Brexit and avowedly against the separation from the E.U. Omotayo, with his Nigerian roots, has faced displacement and problems with immigration. One would think, therefore, their latest single attacks those who want us away from Europe. Instead of casting blame and going for the throats; the song is conciliatory and looks at reconciling divisions. The people who voted to leave the E.U. have more in common with the people who voted Remain – we all have more in common than the politicians who initiated the process. That is the heart of the song: the public is more connected and in-tune than those who make our decisions. Can one, therefore, blame the politicians for making an unwise decision; for dividing the nation and propagating lies and false promises?! Equals’ latest cut opens with woozy electronics and a warped and spacey blast. You get that head-spinning sense of what-if and possibility; it is a mix of sensual and physical with a more spiritual spirit. When Omotayo stepping to the microphone; he asks questions about what has happened and where we are heading. Everything we had before – a connection and community; a sense of purpose and future – seems to have been dissipated and crapped on. The frontman says we cannot go back and reclaim what we had. There is that aghast realisation and shock. The beats get heavier and the electronics vibrate. Our man was telling people they’d be okay and the country would be fine – before Brexit and when the result came in. Now, with the vote cast and that exit a year away; we are in a poor space and more fragmented than any time in recent memory. There is a real passion and upset in the lead’s voice; a sense of dizzy and trying to piece things together. Low adds a sonic backdrop that provokes memories of better days and how we have been attuned to this so-called ‘better’ state and stronger Britain.

The song moves on strongly and gets into the grove. That mantra (“What can I say?”) comes through and seems to represent the feelings of many people – shocked at what is happening and unable to get their minds around the concept and reality we have before us. The hero looks at those who have let us down and wondered if they are truly understanding of what we want and how we need to progress as a country. The accusations and anger are levied more at politicians and those who have messed up the transition – rather than the majority who want us to be free of the E.U. Burning eyes are on our man and it seems he is an alien in the community. The smooth tones and passionate delivery hides a sense of fear and isolation. He was once part of the neighbourhood and nation. Now, as a migrant and black man in the country; is his place secure? One gets impressions of Frank Ocean, James Blake and classic Soul voices when you hear Letter to Leave (What Can I Say?). It is a song that has a sense of bliss and sexuality (the vocals) but packs a powerful punch. The messages are stark and urgent; our man is looking around and curious whether he is part of a country he dreamed of living in – whose parents struggled and tried to make a better life for him. Now, this U.K., is not as united and great as it could be. Those people that are “going to let you down”, I guess, are those who make political decisions and the ones we voted for. We are all groping for betterment and a sense of preservation. Rather than living in a nation moving together and working for each other; there is a split that means the future is very unclear and fractured. The hero holds the line and does not want to attack the Leave voters too much – there is a sense of handing an olive branch to them. Those voters and migrants have more in common than they would imagine. The racist attacks we saw following the Brexit result is being highlighted and judged. Through everything is that need to bring people together and work – now we are leaving Europe – for a brighter future. In less than a year; things will change and the nation removes itself from the E.U. The hero wants people to get together and stop attacking one another. The vocals are sublime and potent whilst the compositional support drives the song and inspires visions and immense reaction. It is a wonderful partnership and conspiracy that brings the song to life. Letter to Leave (What Can I Say?) is a fantastic song that is as relevant and timely as it is sumptuous and passionate.

Following the release of the album; Equals are going to be busy touring and getting their music out there. The boys have already played some gigs around the country and have at least one more date before 27th of this month. They are excited about the album’s release and hope 1997 gets into the public psyche. I know they will get a big reaction and a lot of focus. I mentioned earlier how the social and political albums we have heard this year have been crafted by Punk and Rock bands. They bring a certain style and angle to the table. Now, with Equals, there is a new agenda and fresh angle. There is more depth and inventiveness; greater soul and an anger I have not heard in other albums. I think the duo were a little modest when they said the two albums that particularly inspired 1997 – A Seat at the Table and To Pimp a Butterfly – were far superior to their own work. I understand it is hard reaching the same heights as Solange and Kendrick Lamar but, if anything, the guys have created a British equivalent. One finds the same rich inventive spirit and openness we got with those records. 2018 has been hankering for something that speaks about issues and concerns we all have. James Low and Ade Omotayo have managed to do this and, in the process, singled themselves out as one of the finest forces in British music. I cannot wait to see where they go and how far they head. It is only a matter of time before they get U.S. gigs and their music is an international sensation! Lots of respect to the guys for 1997 and its fantastic (second) single, Letter to Leave (What Can I Say?). These are hard times for us all but, with Equals penning an album that provides as many answers as it raised questions; we have leaders who actually…

SPEAK for everyone.  

_______

Follow Equals

Official:

http://equalsband.com/

Facebook:

https://www.facebook.com/equalsband/

Twitter:

https://twitter.com/theequals

Instagram:

https://www.instagram.com/equalsband/

YouTube:

https://www.youtube.com/channel/UCfsi4hX0aXZXNWH56f_BCxQ

SoundCloud:

https://soundcloud.com/theequals

Spotify:

https://open.spotify.com/artist/7HGyw7kzatTmJvZCATGWf9

TRACK REVIEW: Bianca Bazin - White Water

TRACK REVIEW:

 

Bianca Bazin

PHOTO CREDIT: @saskinsss

White Water

9.4/10

White Water is available via:

https://www.biancabazin.com

GENRES:

 Pop; Indie

ORIGIN:

London, U.K.

RELEASE DATE:

April 2018

_________

WE are entering a phase in music...

PHOTO CREDIT: @georgiabazin

when solo artists are dominating the landscape. I feel the days of bands ruling are long gone. That is not a reason for distress and concern: solo artists are producing some fantastic music right now. I will come to Bianca Bazin and her debut single but, for now, a look at reinvention and songwriters who adapt their sounds. I will come on to look at confident female songwriters and why we need to take more notice; the way a good music video, tied to a fantastic song, can stand in the mind; different influences and creating a fuller sound; training and being educated in music – a bit about adding excitement to a stale industry. I have reviewed and interviewed Bianca Bazin before – under the guise of ‘Bee’. The new song, White Water, is Bazin identifying herself in a different light and changing her sound. That is not to say what came before, as Bee, is to be discounted. What I was interested in is artists who create one name/persona and the reason for a change. In Bazin’s case; she established a Pop sound that captured the imagination and created a fanbase. Now, in 2018, there is a need to enter the next phase and move into a different market. What we have now, under her full name, is a sound that retains some of Bee’s strands but brings in a lot more. There is a more mature sound and a fuller palette. Every song from Bazin, past and present, has her heart and soul poured into it. She is someone who does not rest and will craft every song; dedicate her all to the music and ensure it is the best it can be. What I love about her is the reason she is doing this: to inspire other people and do genuine good. White Water is Bazin embracing something else and representing where she is now. I am/was a big fan of Bee and what she was producing. If anything; the young songwriter has got everything she could from that venture and has set her sights higher.

What I notice, between ‘Bee’ and Bianca Bazin’ is the steps that have come. Bazin has moved from Surrey to London; she has learnt a lot from gigs and seen her music get out into the world. What I have noticed, also, is the strength of the music. Bazin, now, is preparing to release her debut single. There are not many songwriters who can come onto the scene with such confidence and intent. She will resonate with her existing fanbase but, if anything, pick up new ones. Her debut single marks an artist who has cemented her sound and knows exactly where she wants to go. I am, I guess, the first journalist to cover the song – it is not officially released for a few more days/weeks yet. Bazin has filmed her video – I will discuss that soon – and must be thinking ahead. The first notes of White Water let you know, here is a songwriter with a lot ahead of her. Bazin has overcome some personal hurdles and is fighting in a music world packed and competitive. It would have been easy to lie down and take some time away and rest. Instead; she has focused her vision on the horizon and created a stunning song. Many might say it is not a big reinvention – the name has shifted and the look is still the same – but it is a sign the songwriter has desires to be a mainstay in the music industry. What one notices – between names and phases – is a more rounded and full sound. Here, on the debut single, one can notice fresh influences coming to the fore. I will discuss this more but, with any great artist; Bazin has looked at what she’s created and is looking out into music. She has seen the other female songwriters around and reacting to what the public wants. Now, in 2018, there is a move towards music that digs deeper into the artist and lets the listeners in. Pop artists who create something more commercial are still wanted and needed: one looks for something more interesting and nuanced. Bazin has always produced music that goes beyond the ordinary and cliché.

In these times, when controversy rears its head, there is a danger an artist like Bazin could be taken advantage of. The film industry has the same issue: sexual assault and female artists being overlooked. Bazin, on paper, could be taken advantage of because of her age and looks. She is, naturally, stunningly beautiful and, like her peers, could be exposed to the worst instincts of labels and fellow artists – those who take a dim view of morals and feel they can treat women how they want. It is sad to see how the industry is developing and disturbances that are coming to light. I know there is a lot to tackle and problems that cannot be fixed overnight. What I do know is (that) female artists are rebelling by producing some of the most confident and immediate music around. I get the feeling there is that need to be proven and validated. That is not their fault: those who make decisions are still in the narrow mind-set and focusing on male artists. Bazin, like many others, are producing incredible music that will stand the test of time. I wonder whether Bazin, and her colleagues, will be provided the same gig chances and celebration as the men. There is that problem with sexual advantage – men taking advantage of the women – and sexism. The reason I am leaning towards female-made music at the moment is because of the depth and fascination. There is something more enticing and revealing; invention when it comes to mixing genres together; vocals that strike and get right into the heart. Maybe this has always been the way: the past couple of years has upped that impression and really come to light. It seems staggering, given the fact female artists are being overlooked to an extent, there should be any avoidance and naivety. Bazin is among a group of artists who warrant more exposure and bigger gigs. She is releasing her debut single but, with more music, how long will it take her to ascend to the bigger platforms?!

I will move onto new ideas but, right now, I want to stay on the subject and talk about confident songwriters. I have discussed Bazin’s relaunch and new phase. She has discovered a fresh sound and, if anything, there is nothing out there like her. One hears White Water and, from the very first notes, there is that naturalness and charm. You are taken into the song and feel part of the process. The vocal and delivery is oozing with heart and passion. There is subtlety and tenderness that mixes into the agenda. Rather than create something quite modest and settled; you have a musician who wants to get under the skin right away and get success. I know there will be more music coming soon – it is the start of something wonderful for Bazin. It would be easy to compromise and write a song that slotted into the mainstream and would, as such, get onto the radio. She could have crafted a Pop banger that would get plays and be heard by many. If that was true to who she is, then that would be fair enough. I have heard Bazin grow through the years and seen her move through stages. I can see her going on to be a big name in music. In years to come; there will be new chances to grow and succeed. On this first outing; you can hear how much it means to Bazin. She wants to remain in music and see her music compel others and make a difference. There are many people in music for the wrong reasons. They might be in it for commercial gain or to follow another artist. I feel Bazin is in the industry to show where she has come from and use her story as a lead for those who struggle and are looking for a way in. These are exciting times for the songwriter. I know White Water is going to see her transition from the underground and gain a lot more ears. That is, in no small part, down to her spirit and determination.

It is rare we talk about music videos and what they mean. The days of music television are gone and dead. We have streaming sites and can see videos on YouTube. There are so many songs out there right now. How many of us can name a music video, from the past few years, we can class as ‘iconic’?! It has been a fair few years since a video came along that captured the public imagination. Every artist puts out a video at some point in their careers. It can be expensive releasing something ambitious and full. What I love is seeing a video that has simplicity but perfectly bonds with the song. You do not need to create something extravagant and explosive. In the case of White Water; the video shows the heroine walking the city and contemplating things. It might sound basic on paper but, when you watch it alongside the song; it gets into the brain and makes you think. What strikes me is the fact that the video seems quite personal and meaningful. By that; Bazin has filmed something that looks incredible and brings the listener into the story. She does that with her vocals but, when you see the video; an extra layer comes through. There are videos out there, from bigger names, that seem to throw money at the screen and do not really offer anything. Modern artists are limited as to what they can afford and produce. It is not feasible bringing out huge films and casting lots of extras. Instead; you have those brilliantly engaging videos that are filmed on a small budget. In the case of White Water; it is a great promotional that wonderfully joins the song’s narrative with the film world. Bazin has a natural ability and confidence in front of the camera. There is a definite shine and connection and, if you go to her official website and watch it yourself; you notice how the song really comes to life. She seems free and able to conquer anything; engrossed in what she is doing and, as such, that gives the song itself new light and revelation.

I will conclude this topic soon but, going forward, and there are other filming opportunities for Bazin. She has, with her producers and director, created a concept (for White Water) that unveils a reborn, repurposed songwriter. Even as Bee; the videos were striking and strong. Now, a little while on from her previous song; I can see something in Bazin’s eyes. There is that hunger for new challenges and the desire to hook the listener in. Bazin is an artist who wants to keep building her career and get people listening. So many artists, I find, are putting out music for the sake of it. They repeat themselves or provide the public with sounds one can get elsewhere. Bazin has worked hard and crafted music that is true to who she is. The video for her debut single captures her essence and, with it, a wonderful film. That lure and visual style (she has created) is going to be interesting to follow. I wonder what she will come up with on future singles. Based in London; there is the perfect backdrop and setting. I imagine her videos will get more ambitious but retain her identity and vision. There is every reason to suspect, when the video for White Water gets out there, people will flock in and promote her work. It is a shame there is not a bespoke music channel for new musicians. Seeing an MTV-like channel that promotes unsigned artists would be a good move. I am sad we do not place the same importance on videos as we once did. Maybe that is a sign of the way things are going: it is all about the digital and getting all that music out there quickly. Few can deny how the audio has overtaken the visual. Bazin is an artist who still places pride on videos and visuals. Her photos and promotional snaps are striking and engaging. I have mentioned how she is a very striking woman – something that can be seen as a reason for men to take advantage of – but her shots are very classy and mature. Rather than flaunt her body and tease the camera; she has a classy, if sexy, vibe that is good to see. An artist who has her head screwed on and stands aside from her peers – I have high hopes for her as we move through this year.

I can imagine more songs will follow very soon. Bazin is a restless artist who moves through stages and has different influences. I hear bits of Fleetwood Mac in her sounds; there is Carole King and London Grammar – she lists as influences – and modern-day artists like Lorde and Sia. Rather than copy others and create something we have heard a million times; Bazin sprinkles together her heroines and produces something unique. It is the fusion of older and new artists that impresses me. A lot of young artists tend to have a narrow concentration. They will utilise sounds from a particular decade or period. Bazin, one suspects, grew up around great music and was taught to love the feel and purity of the music – rather than love what is deemed ‘popular’ and ‘cool’. You have those touches of King and Fleetwood Mac; the credible sounds of Lorde and modern-day idols. There is never any sense Bazin is trying to follow in their steps and get into their light. Rather than dance to their groove; we have an artist who is compelled by what they stand for and what they do with music. That confidence and independent spirit – one hears with the aforementioned – dominates. There are modern Pop touches in the blend but, largely, Bazin sources from more credible and mature artists. I keep saying ‘mature’ and many might see that as a negative – it is not meant to be. What I am referring to is how Bazin does not use youthfulness as an excuse for immaturity. Too many artists are producing empty music and creating something juvenile. Rather than provide the public something instant and Pop-y; she has an intelligence and depth that means her music takes a bit of time to reveal its colours. It blossoms and grows the more you hear it. I am compelled seeing where Bazin takes her music and what she can achieve.

It is not a surprise to see Bazin captivate and produce such incredible music. She has performed at Italia Conti and learnt to dance and sing there. She picked up a guitar in 2012 – playing the piano at the same time. Bazin started performing live 2014 and has grown as a performer. It is that early attachment to music that means, years down the line, the young artist continues to push. I am seeing fewer and fewer artists get into music at such a young age. Maybe it is the fact music is not part of the mandatory curriculum like it once was. It is an option for many students: one that fewer are choosing to follow. I worry new generations are not going to take up music and will get into it rather late. Bazin is still very young but, as a child, bonded with music and knew that is what she had to do! That passion and intuitiveness, mixed with her influences, has seen her get to where she is now. Bazin’s musical upbringing was rich and rewarding. Those incredible artists she listened to – and the ones she holds dear now – have impacted her direction and inspired her to put her all into music. The fact she has that training and musical education means she is in a better position than a lot of her contemporaries. I know Bazin is doing something different and exciting. The industry is still rather lifeless and not quite as exciting as it could be. Bazin has moved to London and, I’m sure, has gigs lined up. The songwriter is embracing the city and throwing her all into music. It can only be a matter of time before she gets onto the big radio stations and moving up. Bazin has made some big steps and, with every move, improving as an artist and performance. White Water is the sound of a bold and challenging artist who has ammunition to take the music world by storm.

There is a sense of the dramatic and intriguing regarding the opening moments of White Water. There is the sound of, I suspect Big Ben, and the water rushing. Watch the video – directed by Jim Robinson; producers Emma Little and Chris Boorman produce – and one sees Bazin on a bed by the water. The waves are coming in and we see her bed, out in the open. The scene shifts to the river-side and Bazin dressed and looking out around her. There is a concentrated and focused look that signals a woman who has desire and questions on her mind. The opening vocals have that seductive and tender quality. I hear, instantly, elements of London Grammar and, oddly, St. Vincent, right away. The scene is set and one gets into Bazin’s emotional head-space. With minimal accompaniment; Bazin talks about a seemingly care-free life. There are opportunities at her feet and the world is open to her – nothing to complain about. On the outside; there is that sunny façade and a demeanour that suggests everything is okay. Look deeper behind the eyes and there is a pain that lingers. The heroine has faced troubles and changes and is keeping things in. I feel there is that need to fool people and retain an air of happiness and contentment. People, maybe, will walk away if she opens up and reveals what is going on. In the video; that concentrated look and sense of sadness can be heard. We see figures barge past her and, dressed comfortably and elegantly; there is metaphor and visual clues coming through. The heroine is protecting herself and wrapping up warm; people are walking past and not looking at her. Rather than stop and talk; there are those who run past and do not care. Bazin is walking alone and trying to keep things together. The edges are fraying and, like the water, she ebbs and flows. There are good and bad times (like we all experience) but that transition is clear.

Looking at the lyrics and the way they produce metaphor; it seems like Bazin is the water and tide. She is changing and wants to move. Rather than remain turbulent but overlooked; she wants that calm and sense of wonder – people to look at her and take notice. Right now, she is stuck and wants someone (or something) to take her away. Perhaps the song refers to a geographical quandary: stuck somewhere inspiring that is not fulfilling her. I feel there is more of a romantic and personal desire. She has had her heart broken and lost people along the way. Maybe a man has let her down; others have taken her for granted and, it seems, she has been left to take stock and make sense of this all. Bazin is keen to explore new ground and have her heart lifted. Right now, there is a shadow in her soul that is taking a lot from her. One hears the piano in the background: the spotlight is on Bazin’s voice and the mention coming from it. The heroine is flesh and bones; she is feeling the lash of the wind and needs to take some time out and relax. Maybe, where she is now, there are too many cruel minds and it is hard for her to be heard. Packing her bags – literally, in the video – the heroine has reached a point where she needs to find who she is and some balance. Maybe there is that need to find a loving soul; surround herself with good friends and like-minded people. Strings ache and the vocals are layered as the heroine looks back at her past – things getting on top of her and things spiraling out of control. This transition and relocation is a new phase of her life. Maybe, looking closely, one might see this rebirth as a move between her previous music incarnation and her new, more personal, sounds. Bianca Bazin is a woman who does not want to be buried and hurt. There is a hunger and intensity coming through – things have to change.

The song subtlety moves and brings in new contours. Strings come through and the romantic elegance of the background works with the soulfulness and beauty of Bazin’s voice. The heroine, in the video, is on a train and being squashed; she is looking out the window and wondering where she is headed. One heats notations of 1970s Folk and classic songwriters of the past. Bazin has her mind set on new ventures and places. White Water is a very revealing and open song that shows how hard things are right now. Maybe Bazin has bottled up her emotions or felt she has to keep things inside. Treading water and stuck in the same place; that desire to break thorough and do what she needs to do – that will connect with many people out there. So many of us – myself include – are in a rut and want to move on. It can be depressing being in the same place and going through the motions. I have seen many others move on (Bazin would have) and seeing how happy they are. Bazin has worked hard and made compromises for other people. Maybe others have not been looking out for her. Now; there is this peak and rise in tension that needs to be released. It can be difficult changing things and making that big step. Bazin has been unhappy but is making strides and changes. The time is now and this is the moment to be who she wants to be. The final moments of the song follow Bazin’s trip and where she is moving to. Come “Hell or high water”, she will be standing strong and coming home. Maybe there is the need to overcome personal limitations and face things with a stern spirit. We see, in the video, Bazin by the water with bare feet. She has been reading motivational text and, now, stands proud and looks out to the waves. It is not as intimidating and hard as it once was. The video comes round in a circle. She was, in the first shots, asleep and resigned as the waves lapped in. We have followed her progress and movements. Now, at the very end, she is in the same spot and, instead, looking happier and calmer. It is a fantastic ending and realisation that, if you push yourself and make that decision; you can improve and find satisfaction. White Water, in a sense, is Bazin sending out a declaration and proving she is here for the long-run. Things might have been hard but, with her debut single; the songwriter is where she wants to be and ready for the challenges put before her.

Bianca Bazin is an artist we all need to watch out for. I know I have spoken a lot about her transition from ‘Bee’ to ‘Bianca Bazin’. She might not want it laboured or see it as a big deal. It is a natural change and progression from a young woman who has big plans. I wonder whether Bazin has an E.P. in mind. It is going to be a great year for her. She has, already, got under the radar of websites and radio stations – expect this to rise and expand as we head through 2018. What amazes me is how Bazin manages to tackle everything herself. There are others helping her out but, look at her social media and you can see how much she wants this. She promotes her work and is tirelessly getting her name to the people. When White Water is officially out there in the world; it will be a chance for Bazin to prove what she is about and look forward. I would love to see her get loads of gigs and put her single out on the stage. Her stunning voice and engaging personality mean she will be a heroine to many out there. London is a big and varied city that means doors will be open for her. I am curious seeing what sort of dates she gets after the release of her debut single. Festivals are coming up and it will be a chance for Bazin to get out there and captivate the crowds. I feel White Water is part of a narrative that will reveal more in time. By that, I mean she is exploring herself more and creating music that reflects where she is in life – and where she wants to hear. A four-track release would be a great way of getting the music out into the world and hinting where she will head. I can imagine, in time, an album will come and headline sets will come. That might be a little way away: for now, Bazin is focusing on her debut and ensuring people get behind it. Make sure you go buy her single from the official website (see the link at the bottom of this review) and support a songwriter who has big and exciting times ahead. White Water is a song, very much, about the here and now. It is a fresh and grand creation from a songwriter who…

HAS only just begun.  

_______

Follow Bianca Bazin

PHOTO CREDIT: @georgiabazi 

Official:

https://www.biancabazin.com

Facebook:

https://www.facebook.com/biancabazin

Twitter:

https://twitter.com/biancabazin

Instagram:

https://www.instagram.com/bianca_bazin/

YouTube:

https://www.youtube.com/channel/UCfsi4hX0aXZXNWH56f_BCxQ

TRACK REVIEW: AKA George - Manic Machine

TRACK REVIEW:

 

AKA George

Manic Machine

9.5/10

Manic Machine is available via:

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

GENRES:

 Alternative; Rock

ORIGIN:

London, U.K.

RELEASE DATE:

12th March, 2018 (video)

_________

THIS review…

sees me visit a musician who is pretty hard to pin down! I will explore AKA George soon but, for now, I want to study artists who are out there on their own; the musicians that inspire the new generation of stunning musicians; solo artists and why unique voices are needed and demanded this year; having a true Rock spirit and creating excitement in a fading genre; turning down record deals and being independent – those who produce and play everything themselves. I am writing a piece later that investigates musicians who are out on the fringes and producing music that sounds like nothing else. AKA George is one of those people who can bring you in with an accessible edge – the more you explore, the bolder and more intriguing it becomes. I am not suggesting he is a bonkers, Captain Beefheart-like artist who barks down the microphone and throws odd sound effects into the mix – more, he has a sound that differs from the commercial breed and takes your mind in weird directions. Listen to AKA George work and you feel a man who is free and unshackled. I interviewed him last year and, when looking ahead to this year; he talked about his influences and why he wants t stray away from the predictable. He said, and I concur; there is that need for artists to jump on what is popular and attach themselves to a sound. Originality is an uneasy and difficult thing to achieve. The risks of departing from the safe path and doing something that could, in theory, alienate you from a large sector is always a gamble. When listening to AKA George; I hear the bones and flesh of older artists and legends that have helped push things forward. All the best musicians of the past few years have understood and appreciated what the masses want – music they can bond with and has elements of past sounds – but goes away from the safe and vanilla blends we hear in the mainstream. It is risky being safe and cautious: it is equally risky doing your own thing and trying stuff out.

AKA George grew up in a household where music was part of the fabric. I know, as I will explore later, he grew up around artists like Ramones and, I suspect, a bit of Jimi Hendrix. He is a big fan of The White Stripes and gravitates towards people who get into the head and provide genuinely stone-cold classics. I was going to mention Jack White when looking at AKA George – I am going to pen a piece around White later on. AKA George, in a way, reminds me of White. The way the artists control their music and are, most definitely, not slaves to the conventional is evident. White’s latest solo album, Boarding House Reach, is his craziest and most experimental album to date. He shacked himself up in a small cabin and recorded to four-track recorded. One can argue that location and setting provided the chance to concentrate and depart from the distractions of the world. Jeff Buckley took a similar tack when he laid down the meat for his unreleased second album, My Sweetheart the Drunk. He sojourned to Mississippi and holed himself up in a cabin and put stuff down on four-track. It is tragic the songwriter never got to record the songs and see them come to life – he drowned, aged thirty, before he could get into the studio. Going back to the AKA George-Jack White dynamic and, like White, AKA George prefers the purity of creativity and not being lured by technology and a familiar course – having to produce what other people want; fitting into moulds and holes. You get the impression, when AKA George starts writing a song, he has old-skool vinyl and artists around him. Vibing from heroes gone and the desire to do something different; his thought process means he looks at what is out there and consciously strays away from that. There is an eccentricity to his music, sure, but a relatability that means you are impressed and enticed by an odd magic – kept there by some likeable and comfortable threads.

I will look at Rock and artists AKA George reminds me of but, right now, a taste of the solo artist and why their stock is rising. It is the case, I think I can say, that the solo musician is more demanded than the band. We have great bands emerging and making strides – Shame and IDLES are names I often throw in – but, more and more, it is the lone star that gets under the critics’ gaze. It is easier being a solo Pop artist because, more often than not, you do not need to play many instruments – or any – and produce your own music. Many artists are working in a genre that means, so long as you can write a song and imagine it; other musicians can help realise it and flesh it out. That might sound like I am taking shots at Pop: in reality, I am telling it like it really is. That is not a bad thing, mind. It is tricky putting music together and a solo artist doesn’t necessarily have to do everything themselves. It is a hard and challenging life but, for some reason, the worth and value of the solo artist is rising. Pop is playing a big role in that explosion. Bands work in a different way. They are not always a democracy and, in my view, are more geared towards producing commercial sounds. Bands are still in demand at festivals. As such; many write songs that have that big and crowd-uniting sounds. It can be risky moving away from that and writing songs that are more contemplative and diverse. Solo artists have no limits and can do whatever they want in music. They can cross genres and splice in new elements; write E.P.s./albums that cover a lot of ground and never sit still. AKA George understands he has that freedom and, as such, his music is extraordinarily diverse, nuanced and personal.

I am not sure whether bands will come back into the fore and whether, as we look at musicians who can change the game, they will be able to counteract the imbalance. To me; solo artists are not constrained by festivals and what organisers are looking for. If a band member has a different view and wants to explore something new and challenging – how many of their bandmates are going to jump on it and agree?! It is hard having a democracy that places emphasis on the music and pushing sounds in new directions. I am drawn to artists like AKA George because he takes his time to brew music and writes what HE wants to hear. Music needs to change things and bring us all together. The way to do this is to subvert expectations and create something genuinely stunning and unexpected. I feel solo artists are more likely to achieve this feat. I can assume the young songwriter has his sights set on glory and success. Already, he has gained millions of YouTube views and played sold-out gigs. He has gained a lot of heat around London and made his way onto many Spotify playlists. That all sounds impressive but, what is more striking, is the quality of the music. We throw the word ‘unique’ around but, in many cases, you can hear artists that sound like those we proffer. AKA George has some clear influences but never brings them too far into his music. I have mentioned Jack White and how he takes guidance from The White Stripes. I will leave this argument aside, but it worth noting why AKA George’s music is proving so popular. He is an artist we need to see more of and encourage to grow. I am excited to see where he can go and what he can produce as we make our way into the spring and summer months. He has already shown, in the past year, what a strong and dominant proposition he is.

I have mentioned the likes of Jack White and Jimi Hendrix already. These are Rock icons and artists who have set the music world alight. White continues to do so – although, some might argue he has lost his edge a bit – and there are others coming through that keep that Rock spirit alive. One of the oldest arguments in music is whether Rock music is truly dead. Many say it has lost its spirit and not as potent as it once was. There are plenty of new artists arguing that assumption is false: things are good and Rock is well and truly alive! I know there isn’t the same explosion as we saw in past decades. Other genres have come in and the scene is busier and more open than ever. It is hard to unite people and create a Rock genre that inspires new generations and recalls the glory days. That being said; you look around and there are plenty of good Rock artists around. Whether they sprinkle in Punk or mix it with Pop – you cannot state Rock is completely dead. AKA George is one of those artists who cares not for any of those arguments and shows the young breed are pushing Rock forward and keeping it relevant. I think a lot of the problem arises when we look at the total Rock package. The sounds might be intense and on-point but, now, a lot of Rock artists do not have that swagger and personality. Being a Rock musician used to mean having some attitude and owning the stage. Now, we have some great acts who retain that but, more often than not, there is a rather muted and soft personality. AKA George is not exactly destroying hotel rooms and spitting at the crowd – he is a man who draws you in and has an odd sense of attraction. You are hooked on his music but, when watching his videos, you know you are seeing a genuine Rock personality come to life. He might be less explosive than some of the older legends who changed the game. What we do get is music that blows the mind and makes you believe he can go all the way and do something immense.

PHOTO CREDIT: @huntershootsinlondon

Before I go to the song itself; I want to talk about refuting a record deal and remaining autonomous. AKA George, unsurprisingly, has caught the eye of some big names. Nile Rodgers and Pharrell Williams asked to work with him – he declined. Whilst some might say that is foolhardy and irrational; to him, it was a chance to remain independent and unique. I can understand why Williams’ offer would be easy to turn down. As a producer, I feel he would take AKA George’s sound in a commercial direction and try and mould him for the charts. Rodgers, on the other hand, has that legacy and is not going to lead anyone astray. I feel his expertise and genius can add something to the music and bring him to new audiences. Maybe AKA George will reconsider and hook up with Rodgers down the line. Those kinds of offers can be hard to resist and turn away. Many new artists are all about Spotify figures and getting as many people into their camp as they can. That might involve relentless promotion and altering your sound so it fits into a particular scene. AKA George wants his music to be accepted and popular – that does not mean betraying his ethos and conspiring with other producers. Maybe, when he has released more music, he will be in a position to pick who he wants to work with and reconsider offers. I am impressed he has managed to remain true and not be lured by big names. It is vital, in these early stages, artists stay focused and provide music that feels right to them. You cannot get caught up with the pursuit of money and popularity. Too many musicians start off with a personal and meaningful objective, only to be tempted away from that by a record label. AKA George has been approached by labels but, rather than sign the first contract pushed under his nose; he has remained solid and knows where he wants to head. A record deal sounds ideal but, in many ways, it means negotiating and being guided by that label. That is not always ideal for artists who know what they want to sound like and where they want to head.

There are more and more artists doing everything themselves and controlling their music. The fact studios are expensive and record deals, if you want one, are hard to come by means artists are taking care of business and learning new skills. Technology means songs are easier to produce and you do not need the luxuries of a studio. That does not mean it is simple to make music this way and there aren’t challenges. Musicians are picking up skills and studying to ensure they can make music their own way and in their own time. Many still use other producers and musicians but I am seeing some great artists able to take care of every little aspect themselves. AKA George grew up around music and does not feel the need to throw too many bodies into the mix. He wants to have his say and not give decisions to anyone else. Because of that, he produces his music and goes out of his way to put his own stamp on things. I am excited seeing how that manifests as we head further into the year. One of the reasons it is good to have that control is the fact you can make music that means more to you. If you have a producer on board they can, often, have their own way and disappoint the artist. Other musicians are less demanding and pushy but, if you can play instruments yourself, why would you need to hire anyone else?! AKA George is a one-man-wrecking-crew who can see a song through from its inception to release. As his popularity grows, and more offers come his way, I feel, at some stage, he will need to give some control to other parties. That might involve getting a booking agency or having another producer work with him on an E.P. or album. It is a great time for the young songwriter – he can go really far and take music in a new direction.

It is the beats that come to mind first. Although AKA George is a master of the guitar: it is his skills as a drummer that comes to mind. The drums hiss and slam; there are warped electronics and a mood that draws you in and gets the body moving. That combination of Rock and Funk is a hard blend to perfect. AKA George starts Manic Machine with real intent and purpose. You can hear the attitude and spirit come through right away. He wants to flick switches and ash; he wants to bring the bitch – his words, not mine – to life. Maybe he is referring to a rather stale and stagnant relationship; a woman who is reserved and a little guarded. Whoever is in his mind; our hero is in no mood to pass by and take a cautious approach. He is ready and getting his engines revved up. One notices the drums working away but the scratchy and strutting guitar works down in the mix. The different elements work away and there is so much activity happening in the opening moments. The chorus mixes guitar, electronic and beats. In the same way a modern-day Jack White can retain his Rockstar status and not rely on the guitar; AKA George produces a right-out blast that has Punk, Rock and Alternative working alongside one another. I guess you can say there is Dance and Funk working together, too. The chorus sees the hero boasting he is a manic machine; tearing up the street and causing trouble. The video, humorously, juxtaposes that assumption and sees the hero making his way down a quiet street in a mobility scooter. The chorus is a fuzzed-out, belting mandate that gets you standing to attention and respecting every word. You cannot fault the intent and desire coming from the voice. The hero has a strong and fiery tone that brings the words to life and makes a real impression.

There are “paranoid dreams” and that need to wake up – a bellicose and enforced direction the hero feels very strongly about. My thoughts turn from romance and sexual conquest to sleep towns and dull communities. You can tell from the song, even at the start, there is frustration and the sense of being trapped. Maybe our man is living around people who need to wake up and see what is around them. They might be numb to reality and any sense of ambition. Like a tiger stuck in a cage; the boy is looking around and needs to be set free. The song sees the hero seize control and desire every inch of power – every moment and hour. Whereas other AKA George songs have brought the guitar in more; here, there is greater reliance on electronics and percussions. The song still plays in the Rock mould but, if anything, you sense Dance and Trance, oddly. It is a hypnotic song and one intended to be absorbed by the listener. The hero has that passion and intense need to take initiative and change things. That hunger and thirst is palpable and hugely impressive. The vocals are constantly strong and you find yourself stunned at how many talents AKA George has. Our boy wants to f*ck in the highest tower and tear things up. Maybe this need and rebellion have come from being held back and living in a rather dull space. Whatever the reason behind his explosion and strut; the hero is out there and getting whatever he wants. It is thrilling coming along for the ride – a rather slow one if you look at the video! – and being caught by the storm. Manic Machine is an intense song that snarls and spits from start to finish. The guitar barks and comes in here and there. The sound is more machine-like and industrial. The strings are twisted and robotic; the beats are tense and punchy; the electronics warped and howling.

It is that lead voice that produces the most power and potency. Look at the video and one sees AKA George with his crew – hooded and motivated – riding mobility scooters through the streets. The final minute or so finds AKA George breathless and knackered. The voice sparks and comes back in; there are strutted breathes and Screaming Jay Hawkins-like oddities. The composition transforms and the hero puts out an intense cry. It seems like things have reached their peak and this is the moment the explosion really happens. Everything races and the electronics mutate and move forward. The chorus comes back in and the heat keeps rising. It is a catchy and addictive song that gets you under its thumb and leads you astray. You are caught by the energy and hectic sounds thrown from the speakers. AKA George keeps the listener active and engaged in every note. Although there are many different sounds and layers working away; he manages to keep everything controlled and tight. The production is fantastic and you are compelled to come back to the song time and time again. The video adds a humorous edge and shows the hero has a real cheekiness and candid spirit. He is cheeky and rebellious but there is a keen wit and intelligence that rules everything. A stunning artist who has a big future ahead of him – Manic Machine is, to me, the best song AKA George has come up with. I hope there is an E.P. or album coming up. It is a great time for a fantastic artist who is doing something different and not keen to repeat everything we hear in music. He has the attitude and snarl of a Rock god but there is inventiveness and cross-pollination that adds diversity and colour to the genre. Keep your eye out for this tremendous and astonishing songwriter!

I will end things soon but, with Manic Machine out, it seems things are getting hot for AKA George. Even though the song was released late last year; the video is new and I was keen to feature the song on my site. When I spoke with him last year; AKA George teased new material and said an E.P. was being worked on. We are heading into spring – where gig opportunities will come up – and I am sure more material will come from the songwriter. He has achieved so much in a short time and looks set to join the ranks of the elite. I am not sure whether, when he gets more popular, that will lead to other big names coming his way and looking for a collaboration. That is down to the young man himself. We shall see what happens but, right now, the artist looks ahead to gigs and new moves. I have seen clips of the young man and he knows his way around the drums! Go to his Facebook page and you can see him show his percussion chops. His latest track shows what a great vocalist and guitarist he is. AKA George can own every instrument and has so much at his disposal! He connects with his fans and has proudly (quite right) been promoting his latest track. Although the playing and producing his him and his voice; he worked with other actors, and a director, on the video. It is a fantastic song, Manic Machine, and shows the talented musician is on fire right now. He heads to Dot to Dot festival in May and, I am sure, there will be other gigs and festivals in front of him. If you have not investigated the sides and wonders of AKA George; make sure you remedy that and get yourself involved! He is a prime and hungry talent who wants to add his stamp and be a big name. It is a hard industry, is music, but those who have originality and a good attitude can come through and succeed. AKA George is a testament to that point. He is capable of wonderful things and I know he will be a huge name before too long. Manic Machine is a fantastic song from an artist who keeps getting stronger and bigger. Keep your eyes peeled and see just how far…

THIS tremendous artist can go.  

__________

Follow AKA George

Facebook:

https://www.facebook.com/akageorge.uk/

Twitter:

https://twitter.com/AKAGEORGE

Instagram:

https://www.instagram.com/_akageorge/

Spotify:

https://open.spotify.com/artist/46ibooryHP4WiU2X6JRFrY

YouTube:

https://www.youtube.com/user/no1GeorgeBarnett

TRACK REVIEW: Second Hand Poet - Loving You

TRACK REVIEW:

 

Second Hand Poet

Loving You

9.4/10

Loving You is available via:

https://open.spotify.com/album/7zOzmRrrwzMe4NuC5zXzOI?si=JU9b4U0DR-Sqz0PwLJZISA

GENRES:

Folk; Alternative

ORIGIN:

Surrey/London, U.K.

RELEASE DATE:

20th March, 2018

The mini-album/E.P., Songs for the Pyre, is available via:

https://open.spotify.com/album/0VJ21P0VXBKjISB57jbGm5

_________

IT has been a little while…

since I have written about Second Hand Poet. Jamie Tipson’s alter ego is a fantastic artist I have been following for years and now, in 2018, is making his biggest and boldest moves. I will look at the song, Loving You, in a bit but, right now, I will tackle a few other subjects. I want to look at Folk and the way it varies and expands; mixing instruments and becoming brasher with musical selection; progressing from open mic nights to bigger stages; artists whose songs get into the artist and reflect something universal; the need to reflect and embrace music that goes deeper and remains (in the mind) longer – where Second Hand Poet can go; where he fits into the modern scene. This year has been a pretty busy one for music thus far. The great albums we have already seen – the likes of Field Music and Tune-Yards – have been more adventurous, genre-fusing and vivacious. I am a fan of both albums – they are not the only ones that have remained in my mind. David Byrne and Kacey Musgraves have unveiled stunning albums; Jack White produced a big and weird record…it has been a year (already) for chomping and racing statements. I cannot remember a time when critics looked beyond the obvious and proffered something different. That might be a bit rash but it seems artists who produce something more intense are given more focus. Second Hand Poet produces music that, yes, has some firm sounds and urgency – most of his music plays with the intimate and tender. This year, I have looked around and have not seen that many similar-sound records around. Maybe it is the time we are in and the need for music to change: I yearn to discover something more soothing in the mainstream. I feel Folk has had a hard time the past few years. We have acts like Laura Marling and This Is the Kit but, largely, you struggle to name a lot of modern Folk acts getting focus love in the mainstream. Maybe First Aid Kit are the exception. Their L.P., Ruins, gained great reviews earlier this year. There are not many others out there – I wonder whether traditional Folk is still viable in 2018.

Second Hand Poet is part of a modern breed that mixes in other sounds and takes the genre further. I love acoustic guitar sounds and pastoral blends. There is a risk that, if you keep playing that same style of music, it becomes stale and predictable after a while. Music is seeking out artists who write from the heart and provide the listener something personal – this does not necessarily mean songs that are bare and naked. Because of that; Folk is expanding and broadening its mind. In many ways, the traditional Folk construct has disappeared, or reduced, and it has taken on a new form. Second Hand Poet has acoustic tones in the mix but one can hear other instruments and elements. I will look at that later but, thinking about his music, and I get a sense of a young man stepping up and bringing his music to new audiences. I am a big fan of Folk music but feel it has to evolve and modernise. The days of Bob Dylan, Joni Mitchell and their ilk are best left in the past. Unless you have the songwriting ability of both – nobody in modern music does – then it is hard captivating people with few strings and a basic outlay. Those who stick to a simpler sound struggle to crack into the foreground. One of my biggest hopes of the year is a new album by Billie Marten – the Yorkshire-born artist created a sensational album in 2016 with Writing of Blues and Yellows. There was wistfulness in her album but, listen closely, and there is so much depth and revelation. Second Hand Poet provides the same thing. His previous music has been a bedroom-made, sparse sound that hooked you with its raw emotion and simplicity. The music, now, has increased in stature – still retaining that closeness and personal warmth. Like a lot of Folk artists today; Tipson has acclimatised and thrown more into the palette. Rather than compromise his sound and abandon his personality; we have an artist who has remained true to himself but shown greater confidence.

One of the most immediate impressions you get from Second Hand Poet’s new work, Songs for the Pyre, is the way other instruments help flesh and round the songs. The majority of the songs keep close to acoustic strings and Tipson’s distinct voice. There are Classical tones and fabrics that enter the fray, too. What strikes me is the way Second Hand Poet follows artists like Billie Marten, Laura Marling and Second Hand Poet and produces something striking and easily accessible. I have named female artists there: Bon Iver and Ben Howard are comparable modern artists. Given the cost of making and releasing music; a lot of artists are finding sounds from technology in order to give their music more edge and layers. Classical instrumentation has been in music (popular music) for decades now. In my mind, there is not enough of it the contemporary culture. A well-placed cello or violin can elevate a song and create new emotions. I have been a fan of artists like Nick Drake for years. His music is, perhaps, closest to Second Hand Poet. The way Drake worked with Robert Kirby to produce these elaborate, sweeping songs is affecting artists now – over four decades since the songwriter died. I feel Folk has always been synonymous with integrating strings and brass into the mix. Pop and Rock does it – not as regularly and effectively as Folk. Second Hand Poet’s author has grown up with legendary artists and understands how impactful strings can be. The clash between modern lyrics/production and older sounds leads to a brilliantly candid and layered sound. The music hits you when you listen to it; it remains in the mind and leads to personal investigation. You get lost in the songs and think more closely about your own life. That might be the power of the other instruments we hear on the songs. To me, it is the way Tipson understands their role and, with his guitar, gets into the heart. His lyrics talk of his own life but, in a wider sense, can be extrapolated by every listener.

I will move on to other subjects soon but, for a bit, will remain on this subject. I have not really talked about modern recordings and how artists are reacting to expensive studios. Tipson’s music has always been born in bedrooms and between walls. I know a lot of musicians write in their rooms and houses. What remains is that authenticity and trueness to his own self. He has not, on his new release, retreated to luxurious surroundings and created something polished and plastic. The songs have come from that close space and his own mind. I can imagine the writer penning his songs in a small room and watching them come to life. From there, there must be demos and he will lay down a basic track. A few takes might get recorded before other instruments are put on top. The addition of those other players/sounds take the music to new heights and uncovers new emotions. In future recordings, however far Second Hand Poet goes, maybe he will look at Kirby/Drake and what they produced on albums like Five Leaves Left. At the moment, I get a real hint of that work and the majesty present (then). There is a great reason why Nick Drake’s music has endured and inspired people all this time. It is not only the man’s voice and sublime lyrics that get into the brain: the compositions are fantastically powerful and stirring. I get a sense Tipson, as a songwriter, wants his music to endure for years and compel musicians who pick it up down the line. It is not only about, like so much music, disposable and for the moment. One gets the scent of a man who puts his all into the music; he labours over songs to ensure every line is as good as it can be – there are no wasted sentiments and notes anywhere in Songs for the Pyre. That album title might sound self-deprecating and dismissible: music not worth a second listen, perhaps?! To me, it is about the erosion of bad memories and transitioning into a new state; the pull and entrance of the fire; the way he can be alone and let all of his inner-thoughts come out – music that stands proudly and shows its grace.

I have, as said, followed the young man for a few years now. I know Tipson has a Rock/Grunge side-project (Gold Phoenix) and it is good to see a musician take a Jack White-like approach to his art – not confining himself to one demographic. The benefit of this diversity means his solo material is stronger and more confident. Tipson has been on the stage as Second Hand Poet and shredder in Gold Phoenix. Like White’s Raconteurs and The Dead Weather; I wonder whether Gold Phoenix are on the back-burner for now – or will rise from the flames soon. That is unfair, actually: the band has released music recently and they look like a firm unit. Tipson has, instead, taken from his band and brought it into the solo work. Like a scamp squirrel hoarding nuts for the winter – I had a late night! – the talented songwriter has collated nutrients and substance from the band and stored it in his own ‘tree’. By that, he has got confidence from the stage and written in a different way. That is not to say Second Hand Poet has gone all Dylan-esque and cracked out the electric guitar – his music still retains its ethics and does not go all mad and mental. Instead, you chart the rise of an artist who has learnt a lot from performance. He has, as such, adapted and altered as a songwriter. Whereas before, Tipson was writing in his bedroom and unsure how far his music would reach – writing more basic and honed songs – he has spread his wings, knowing his music has an audience. The songs I hear on the new mini-L.P./E.P. could easily be adapted and played by Gold Phoenix – they have the opportunity to get bigger and rawer. Tipson took a familiar route into solo music. He has used to do open mic nights and play songs to a handful of strangers. It is a good way to start and is a lot more daunting than you might imagine!

Getting up to an untested crowd, and being a new name to them, runs the risk of rejection and ignorance. Playing local bars/places – around London and Surrey – Tipson has learnt come a long way. Songs for the Pyre was recorded in London and is the result of dusting off some forgotten demos. A lot of the material has been in the archives and remained untouched until now. Tipson has been playing gigs and ensuring his previous material goes as far as possible. Now, with a fresh work in the ether; he has a chance to get back on the road and reach new faces. I wonder how many of the songs on his current record have already been played before. Certainly, the versions we hear on the record are different to the demos/basic tracks he might have played elsewhere. It is humbling hearing a professional-sounding record from Second Hand Poet and knowing, deep down, he still gets a kick from performing smaller spaces. You can imagine him getting to big festivals in time: right now, he is performing gigs locally and making sure his music is heard by as many people as possible. Seeing as he is still a Folk/Alternative artist, it might take a while to break from those local/smaller gigs and get into the mainstream. I yearn for the day when an artist like Second Hand Poet can take to the Main Stage at Glastonbury and entrance thousands. Tipson, as an artist, has that mixture of acoustic gems and thrashers in his pocket. He could easily produce a varied and compelling set. As Second Hand Poet; perhaps it might take a couple more albums before he is eyeing those headline places. He is testament to what can be achieved as a performer. He has not sold out and taken a cheap record deal. Instead, he has played open mic and built his way up; recorded in his bedroom and progressed from a  D.I.Y. local hero to somewhere turning national heads. That is not to say Tipson has ditched home for a fancy studio: Songs for the Pyre is a fantastic mini-album, E.P. that stays true to its roots and wears its tattoos with pride.

Before I look at one of the songs from Second Hand Poet’s new work; I will look at music that needs to react to the times and unite listeners. I have loved some of the big albums that have arrived in 2018 – I have named a few of the artists – and am keeping my eyes peeled for new releases. Part of my role in music is reacting to the new releases and providing my thoughts. What I have noticed, from the albums I have reviewed in the mainstream, is the way the songs (on the best albums) are not only about that artist. They are a lot more considerate and seem to speak to me/others directly. Music cannot afford to be insular and selfish in these times. Artists need to look out at the world and write music that brings people together…or, at the very least, try and bring people into the mix. Tipson writes from his experiences but, when putting pen to paper, thinks about those listeners and what they will take away. I listen to his songs and can tell the young writer has poured his emotions onto the page. He has produced music that stems from struggles, romantic endeavours and personal needs; channelled that into music that can be understood and appreciated by everyone listening. I scanned Songs for the Pyre and, on the five songs, related to every word. I am looking for music to provide guidance and answer questions people cannot – get into my soul and lead to revelation and discovery. Second Hand Poet is a songwriter who has gone through the same pains and hard times as all of us. He knows other people out there are seeking clarity and are looking in music for that. The best and most promising artists are those who can pen something meaningful to them without excluding the listener. That might be in the form of social commentary or a viewpoint of the world in which we live.

Looking forward, things are not getting any easier and brighter. We live in a world that is unfolding at the seams. Music is that sanctuary and church where we can all hunker down and find safety. The artists I am bonding with right now are those who give me motivation and heart but provide messages I can take meaning from. Second Hand Poet has crafted a collection of songs that can educate, comfort and nurture listeners. Not only are the lyrics fresh, inspiring and relatable – the music has that lustre, romance and shimmer. It is a brilliant work that warrants further listening. What I love about Songs for the Pyre is the songs on them. That sounds simplistic but, what I mean is the way the music bounces around the head and compels you to come back. There are bands and artists who produce songs that hit you first time and then, the more you listen, the less powerful they are. The opposite is true of Second Hand Poet’s music. I find myself coming back and investigating various songs, at first, I think I had nailed and figured. That is the mark of a great songwriter: someone who can create nuance and not give everything away so easily. Tipson has been on the scene a while and mutated as an artist. Gaining experience from the stage and compelled by great reviews; his latest music, from old demos, is essential listening. Music is so packed and crowded right now: finding music that distinguishes itself from the pack can be a real challenge! I will move on now but wanted to recommend people get involved with Second Hand Poet and study his new work. Songs for the Pyre is a marvellous collection that is just what we need right now – music that will stand the test of time and find a willing and passionate response from the stage.

The opening notes of Loving You have that contemplative and muted air. They lead the listener in and get them settled down. I was picturing the sun cracking from behind the trees; the breeze gently caressing and our hero, in the open, waiting for his love. The strings are beckoning and enticing; they elongate and punctuate. There is a gap between notes which allows the listener to track their own visions and what the song entails. When the hero comes to the microphone; he talks about someone bringing him love. He will wait and keep his heart open. I get the view this romance is nothing new. Maybe the two have history or there has been a bit of intrigue for a while. The comfort and security of the vocals – no nerves and speculations – leads me to believe Second Hand Poet has tasted romance and love (with this girl) but it has never fully come to fruition. The lament and call he is putting out there is whispered and touching. The guitar never intrudes or strides out too firmly: it is compassionate and tender but it carries meaning and firm intent. Our man has this feeling in his hands; he wants this pressure released and has found something, it seems, that can take away his loneliness. I am not sure whether the two have found one another yet – or it is the seduction and beckoning – but you can hear the voice crack and implore. You are hooked by the power of the voice and how raw it is. Even though the production is clearer and more polished than previous cuts; you get the impression you are listening to Second Hand Poet in a bedroom with the moonlight flooding in. If you go to YouTube and watch the video for the song; you can see Tipson expending all that emotion and bathed in candlelight and calm.  I wonder whether the romance he is talking about now is past or upcoming – there is a bit of loss and sadness underneath everything.

Maybe our man is a little hesitant and has been hurt before. It seems the girl has been lied to in the past. She has experienced her share of heartache and hurt. The heart is warm with ember and restless like the howl of the room. The hero asks the girl whether she can feel that beat and need for completion – he knows he can be the one for her. The mantra, “Can you feel it?”, comes back and underlines what Second Hand Poet is trying to say: he is loyal and will not let her down. You get the impression of lingering strings and something working in the background. There are little suggestions and scents. Second Hand Poet imagines the tryst and the bondng; the way the hands run through his hair and on his skin. The hands are cold – maybe symbolling someone with a cooler heart or something that has been lost – but, in a way, the hero is a warmer body and safety. Although Loving You, unlike other tracks on the record, do not have Classic elements at the heart; it is an intimate and bare song that opens up the mini-L.P. Rather than introduce other strings too early in the game and depart from his previous work too readily; he uses the opening track to keep true to where he came from and bring the listener in gently. Loving You is one of the most emotive and emotional songs Second Hand Poet has produced. I can see the song getting radio-play and proving very popular with people. You hear it a few songs and it is not until a little way down the line you start to piece everything together and understand the whole story. The song unfurls its wings and blossoms the more you investigate it. That is the mark of a great songwriter: someone who can produce something immediate, but leave the listener wanting more – they will go back in and pick up new things from the song every single time. Congratulations to Second Hand Poet on a remarkable single – from a triumphant and quality-packed E.P./mini-album. He is someone, I know, will go very far in the music industry very soon. Getting more confident and secure with every song he provides; one can chart his progression and know, in years to come, he will nestle among the big names of the mainstream.

I got in a little trouble, last week, when I suggest a musician needs to improve their social media and get more photos out there – and ensure they have a Twitter account set-up in the future. I stand by my assertion regards Twitter and how that can get music to new audiences. Tipson has Second Hand Poet on Twitter. I look at the other point I made and whether new artists have the money to afford a collection of photos. I did not mean to offend the musician I reviewed. I was looking constructively at his music and thinking of ways more people could get involved. He countered, fairly, with the view (musicians) do not have a lot of cash – or want to produce a few select shots for each campaign. Second Hand Poet has a few great images and they portray a fantastic vision. I wonder, as he thinks about new work and where he goes; maybe new shoots will come to light. Second Hand Poet has that fantastic image that, oddly, reminds me of the likes of Father John Misty. That fantastic concentration and facial hair – in fact, there is an element of an elder nobleman or cleric; a wise man who is here to impart wisdom to the people! I can imagine Tipson taking to a London church and producing photos there; maybe a scenic backdrop or something more adventurous. In any case, as with my previous review, it is worth noting this suggestion is designed to help the artist – not scorn or pour criticism their way. I suggest everyone gets themselves behind Songs for the Pyre and a fantastic young songwriter. I can imagine Second Hand Poet is planning gigs for the spring and summer. I could see him doing well in spaces like St Pancras Old Church and St Giles-in-the-Fields: intimate and gorgeous locations where you can really hear the benefit of acoustic/Classical music. I am not sure what Second Hand Poet has planned regards gigs and where he will take his songs. Kudos to Tipson and what he has created. By revitalising and polishing demos into a cohesive and layered set of songs is no easy feat – he has managed to do this and wetted the appetite for more music. These are still early days for the songwriter but, on the evidence of songs like Loving You; there is every evidence to suggest Second Hand Poet can go…

ALL the way.  

_______

Follow Second Hand Poet

Facebook:

https://www.facebook.com/SecondHandPoetMusic/

Twitter:

https://twitter.com/SecondHandPoet

YouTube:

https://www.youtube.com/channel/UCYTgFc0W1bGKSRO1UxqH43g

SoundCloud:

https://soundcloud.com/secondhandpoet

Spotify:

https://open.spotify.com/artist/7BWb4Sq41I6p7rhmfnyPzA

TRACK REVIEW: Louis Antoniou - Lonesomeville

TRACK REVIEW:

 

Louis Antoniou

PHOTO CREDIT: Paul Hammond

Lonesomeville

9.4/10

Lonesomeville is available via:

https://open.spotify.com/album/1wfSpEztICcmqyFFTIWGY8

GENRES:

Alternative-Rock; Blues

ORIGIN:

London/Watford, U.K.

RELEASE DATE:

16th March, 2018

_________

I have a lot to crack on with today...

PHOTO CREDIT: Paul Hammond

so it is best I get to talking about Louis Antoniou and his music. Before I do that, in fact, there are a few themes I want to address. I will talk about double-single releases and new ways of introducing music to the public. Following that, I will investigate songwriters who go deeper and produce original songs; why social relevance and observations are required this year; artists who develop their sound and build through time; sounds that need to be proffered and promoted this year – finishing by looking at the way music needs to evolve and shift this year. Antoniou is one of those artists who goes out of their way to explore new ground and push the limits of music. I am making changes to my blog in the coming weeks where I will go looking for more female artists – the majority of requests I get are from men; I want an equal split on my pages – and progress from the capital. A lot of what I do at the moment involves investigation of male artists from the capital – a lot of the same stuff coming my way. It can get a bit weary having bloke-heavy months where I am shifting and sifting through similar-minded acts. Luckily, and to come to my point, Louis Antoniou adds freshness and a unique edge that gives me something compelling to write about. Aside from the fact he does not have a Twitter account – folly given it is the most effective way to promote music – there is so much to love about him. I will come to my advertised points but, going forward, I would recommend a few things. I can never see any rationale and logic for artists escaping Twitter. Facebook is on its arse and will be a spent force soon enough. Gigs are a good way of spreading the word but, given the competition out there; Twitter is the fastest and most-powerful tool available to musicians. You can get your music out to the people very quickly and efficiently using Twitter. I would be nowhere were it not for the social media site and what it can do. Antoniou has his fans on Facebook, and a local crowd, but, if he wants to get to bigger audiences and get his music played widely – Twitter is a good idea for him. I can understand why some artists would avoid Twitter – if they feel it is a little commercial and obvious.

I have made so many contacts on Twitter through the years: Louis Antoniou would accrue a lot more fans if he floated his music on the site. Another recommendation would be for Antoniou to go a bit further regarding his photography and campaigns. The images used here – unless he comes back and supplies more – are from an interview I conducted with him a little while ago. That interview was for his previous single release. I am not sure whether they are bespoke for that campaign – or general images that can be used at any stage – but, given the nature of his latest release; some themed and unique images would be a great idea. He has a photographic allure that means the camera, it seems, loves him. I will talk about the poetry and desires of Antoniou soon but, for now, maybe some more shoots and campaigns would help get his music out to the people. The final point I wanted to make was promoting music further than the U.K. I know Antoniou wants to play church gigs this year – one of the first Rock acts to tear up a place like that! – but he seems like a natural fit for the U.S. He has gained great praise from U.K. sites since the start of his career. I know American audiences would love his music and back what he does. All of these modifications and tweaks would bring the brilliant music to more people and get Antoniou the credit he warrants. At the moment, the London songwriter has done sterling work and seen multiple sites/sources push his sounds. You Ain’t the Girl, his previous single, showed promise and a keen desire. Antoniou has come back with a brilliant double-release.

PHOTO CREDIT: Paul Hammond

I am not taking on the other side of the coin, I Let the Rain Fall Hard, because I only look at singles – at the moment, anyway. I have heard the song and can attest to its dark, gripping and dramatic tones. It is not as light as Lonesomeville and has different shades. This single is slicker, cheekier and different to his previous release. Whereas that song was a Blues affair that reminded one of the likes of The Doors, The Rolling Stones and Elvis Presley; here, we have something with humour, grizzled and frenetic. I will look at the way some songwriters develop their work quickly and have that restless nature. I get bored with the same sort of campaign and artists who bring out there music the same way. Usually, with an album involved; you get the first single/teaser that comes along. Maybe there will be a few clips and build-up of that introduction song. Before the L.P. arrives, we have seen, maybe, three or four tracks come through. You are familiar with that record but, more than anything, a little weary and keen for something new. It is a strange experience having that much familiarity with three or four songs – it sounds strange against the new tracks you’ll experience on the album. I wonder whether promotional campaigns are too predictable and full-on. Do we need so much material and relentless promotion before an album comes out?! New artists do not really have the same agenda and angle. They do things differently for single release, but still, there is too much of the obvious and weary. Louis Antoniou has taken a different tack and decided to release five singles this year. The double-release we have now shows another couple of sides to the songwriter. I am always looking for artists who do things differently and break with convention. The fact Antoniou wants to release more songs this year means he has a desire and passion to get things done. He wants to succeed an, with every new offering, takes a different approach.

I have seen artists release B-sides and bring their material out on cassette. That may sound a bit vintage and outdated against the modern world: the fact artists are willing to retain the sense of wonder and old makes me hopeful. I am pleased we have the Internet and streaming services but I yearn to retain physical forms and, at the very least, see music remain agile and unpredictable. Having the same artists release the same material, in the same way, gets boring very fast. Antoniou wants to stand out and, as such, has started this year with intensity and meaning. I will come to look at Lonesomeville very soon but, right now, I am interested in that double-release. The public gets two tracks at once and, with it, separate songs and sounds. The two singles do not have the same tones and dynamics. There will be a couple more releases coming before the end of the year – I am interested to see where Antoniou goes and what he produces. I know Antoniou loves music of the past and grew up around the likes of The Rolling Stones. You can hear their mix of Blues and Rock in his music. What I would like to see from a songwriter as appealing as Antoniou is to retain that blend of older and new. The London artist still engages in the motions of modern promotion: teasing material and releasing on streaming sites; building up hype and attention. I hear an old master with one part of his mind set on the glory days. Maybe he would consider releasing to cassette or including covers in his repertoire. Perhaps there will be an album that has a narrative arc based on modern life and ways we need to develop as people. Each new song provides another part of the jigsaw. I feel there is a massive success waiting around the corner for Antoniou. He is always pushing himself to be better and finding ways to distinguish himself from the masses. Lonesomeville is a brilliant way of doing that.

There is a series of BBC Radio 6 Music, presented by Chris Hawkins, that looks at bands involved in politics. The programmes chats to artists who involve themselves in social and political concerns. I think IDLES are one of the acts being featured. The reason the show interests me is seeing how music is changing at the moment. There are artists who remain in the commercial and obvious realm. Against that (commercial aspect) are the musicians going out their way to talk about something more relevant and meaningful. We need artists to take a more conscientious approach to songwriting; look around them and document what is happening – and how the world is being impacted. That is one trend unfolding in music right now: bands and new acts talking about modern life and how the nation is changing. Antoniou is someone who understands this and has the potential to join the elite of music. One of the suggestions I would urge is to turn his powerful and engaging music to areas like social change and politics. He has looked at love and humorous sides: a gaze into the modern world, and the way people are living their lives, is a good shift. Like peers such as Louis Brennan; delving into subjects most songwriters avoid would be a good idea. I can see a soul and conscience in Antoniou that wants to go beyond the similar and boring – a more invested, curious and striking heart. The way he goes about music has impressed and stunned me. Bringing that wit and humour into a politically-charged number would see him join artists like IDLES and Cabbage in the leagues of the aware and divining. Those bands see the way the world is splitting and, alongside tales of everyday life, are striking out. In fact; IDLES do not only look at politics and attacking bad practice. They view the streets around them and all the odd romances, ambitious people and strange scenes.

Antoniou has a great Blues and Rock sound, I feel, could stir the same kind of passion as Punk. He is someone determined to keep his music real and relevant – ensuring it is never grey, common and lacklustre. He provides songs that stay in the memory and stray from the routine. I feel his wit and fantastic music could do wonders when looking at social concerns and divides. I am not saying he needs to go the same way as IDLES and Cabbage: investigating political stresses and anxieties, with his humour laced in, would be a great move. Maybe that sounds too controlling – Antoniou has his own way and motives right now. I feel the songwriter has goals for 2018 and wants to make changes in the music world. I can hear that endless passion and curiosity come through in every note. From interviewing Antoniou; he told me he has a set of poems that look at the Seven Deadly Sins. Maybe a crowd-funding campaign could get them to life. Those songs would look at modern life and bring the listener into something fascinating, strange and wondrous. Antoniou is a big fan of artists like Father John Misty, Arctic Monkeys and Bob Dylan. He loves Shame – all artists who involve social commentary in their music. I am interesting seeing where Antoniou goes and how his music develops. There is the humour of Father John Misty and the Blues chops of The Rolling Stones and Bob Dylan. Engaging with those Punk ideals and shining a light on the changing faces of Britain would seem, in my view, a great step for him. That might get him gigs with the likes of Shame, one would imagine. Maybe he has different objectives but, when interviewing him, that 2018 goal stood out: performing in a space like a church; blowing the roof off and bringing something raw to that setting. It would be, in a way, Antoniou’s version of Bob Dylan going electric (“Judas!”).

PHOTO CREDIT: Paul Hammond

Although love, lost and estranged, is part of his locker right now; I wonder whether the songwriter will tackle fresh topics in his remaining releases. I am not in a rush to see Louis Antoniou rush ahead and change things too much. Recording at The Crypt Studios; the talented songwriter goes beyond the garden-variety songwriters who strum and sing the same stuff! Over the course of a few songs; Antoniou has moved from Blues-out strands and tales of wrong love and misguided affections. Here, on Lonesomeville, there is a different sound and different course. More wit had come in; the song is faster and rawer, in a sense – stepping more into Blues territory, I guess. A lot of new songwriters get a bit tense and feel the best way of getting under the skin of people is to repeat themselves for a while. They will release similar-sounding music to get their ‘sound’ and identity cemented. It is understandable given the way music has changed and how competitive things are now. You can alter your music and take in new influence without alienating people and scaring critics. I have seen artists take big steps between songs and get more people recruited. Antoniou has a common core but, with each single, brings in something amazing and unexpected. Lonesomeville is a track that will register with those who have followed his career so far. Anyone new does not need to go back through his catalogue and familiarise themselves with his work. Basing himself in London; there is a lot happening around and changes in the air. I feel it is only a matter of time before Antoniou is thinking of an album or something bigger. The fact he does not remain rooted and reproduce average music means he is a step above many out there. I would like to see him embrace the full spectrum of music and bring more of his influences in. I can hear the likes of The Rolling Stones and Father John Misty in his sounds. Given his talent and immense drive; who knows what he can achieve before the end of the year?!

There are little nods to Arctic Monkeys and Elvis Presley in the early stages of Lonesomeville. There is an allusion to Heartbreak Hotel and some of the vocal sounds of Alex Turner (Arctic Monkeys). I hear elements of John Lee Hooker, The Beatles; Led Zeppelin and Blues masters in the song. It is a rollicking and explosive track that bursts forth and whips up energy. One can imagine the song being played in a cool bar with some fired-up and dancing patrons. What one experiences is all the strands and colours of Antoniou come through. You have the modern production backing a song whose lyrics investigate love and loneliness in a rather classic, old-fashioned way. You do not get the same clichés and obvious lyrics so many modern songwriters trot out. One hears bits of the 1950s come through in the verse. It is a witty and evocative number that has that physicality and story-like quality. Antoniou introduces story and conversation through the song. The girl, whoever she is, is a stickler for rules and guidelines. Maybe there is strictness and rigid façade that has got our man angry and alone. I am not sure, in the early stages, whether the two are together or not – or, whether this is a sense of pondering from the sidelines. The sweetheart has stamped on Antoniou’s heart – and his balls, in a sense – and left his jaded and spun. I am not sure what has compelled this assault and crush. Maybe she has been too uncaring and cold in the relationship. I feel, in a way, the hero was after a conquest and sense of satisfaction. Like The Rolling Stones and their lust for sex and getting their rocks off – I feel a sense of longing from Antoniou here. Maybe he did not aim for long-term and serious: a chance to get close to the woman and experience the thrill of the chase. That might sound cynical but, given the race and pace of the music; one gets into that mindset and hole. It is an energised and kicking start that gets you invested and thinking.

The guitars grumble, yowl and scratch; the percussion rumbles and the strings twang, guide and dance. The hero rises above the band and lets his voice radiate. His heart has been broken and he has been left alone. I am not sure whether it is a big disappointment in terms of a missed relationship of the denial of satisfaction. It seems my natural scepticism has avoided looking at the song as a break-up and deep thing. Too many love-songs investigate splits and relationships with seriousness and dour countenance. It is all very po-faced and teary. Here; we have a song that has youthful cheekiness and does not take itself too seriously. The script was written with the girl in mind; she has the starring role and our man, he says, will bring her flowers before every show. At once, you get an ideal of classic films and something older. Whether you project the girl as a film-star siren or Muse of the stage – there is something oddly classy about the pursuit. Our boy does not want to slow and is trying everything in his book to get the girl’s focus. She is giving him the cold eyes and not fooling for his pound-store routines. That sounds cruel to the hero: he is putting the effort in and laying his heart on the line. One gets involved in the going-ons and pictures the two exchanging glances and intent looks. They are on different sides and, perhaps, have different ambitions. Antoniou locks his sites on the woman and makes it known he is a solid guy. I guess there is a part of him – no guessing which one! – that wants to get a thrill and find some physical release. The rolling and persuasive clamber of the composition keeps the energy levels high and gets the listener moving from the very off – keeping you here until the final notes. Towards the end stages; the Blues guitars howl and stand aside. There is some soloing that gives the song additional spark and sexuality. It is a fantastic parable that, when fused with bold percussion and disciplined bass; creates something fantastic and raw. By the time the song ends; you are looking for more and, ironically, want that musical orgasm. I am not sure whether the hero got his way and managed to win the girl around. All good songs leave the listener guessing and speculating after it has finished. You write new scenes afterwards and envisage alternative endings. Lonesomeville is a cracking song from Louis Antoniou and shows he is a step above most of his contemporaries. Make sure you get behind his latest work – and I Let the Rain Fall Hard – and see where the London-based artist is heading. It might be early in his career but, if he keeps releasing songs like this; I can see him going very far and playing some big stages. On a very cloudy, unpredictable and grey week – Lonesomeville is the song everyone needs to bring some sunshine, cheer and hope into the landscape.

I recommend you have a listen to Louis Antoniou’s other single, I Let the Rain Fall Hard, as it shows incredible ambition and ability. That double-sided release is something we need to see more of in modern music. I get irritated seeing the same promotional campaigns and familiar promotional circulating the Internet. Putting out a twin-release means the public get two songs at once and, with it, differing stories and sounds. I have mentioned those who release material on cassettes – a great way of keeping the magic and charm in music. It might sound quite ‘cute’ given the fact cassettes are very rare and, well, obsolete. I wonder whether Antoniou will release his work to vinyl or bring in some cassettes releases. Antoniou has some London gigs coming up and, following a memorable past year; he is capitalising on that success and experience. Those gigs are a great way to get new material to the people. Antoniou seems comfortable in London and is taking a lot from the people and streets. The mixed population and constant energy runs through his blood and has compelled his imagination. I can see Antoniou going further and taking his music to other parts of the world. It is still early in his career but, from these early signs, there is every evidence to suggest he will be a big name very soon. I love what I have heard on Lonesomeville and am already looking ahead to see what comes next. Songwriters, now, do not really bring much wit and humour into music. I hope he thinks about a Twitter account – unless there is one and I have missed it completely! – as that will get his music to influential radio stations and sources instantly; ensure artists and labels around the world hear his stuff; gets to a large audience very quickly indeed. It makes sense in the modern times that every artist exploits every option available to them.

PHOTO CREDIT: Paul Hammond

I will end this by talking about where Antoniou heads and why he is a name to watch closely. He looks at love but never does it in a hackneyed and stifled way. He is an expressive and open songwriter who ensures his music has a unique aspect and plenty of interest. I have been a fan of his for a while and seen the changes coming into his music. It is an exciting time for Louis Antoniou and his music. He has won legions of fans – but this is only the start of things. He has options ahead of him and various routes he can take. I know there are more singles coming and there will be gigs approaching. If you have not familiarised yourself with his music; ensure you get behind him and watch his every move. I said I am embracing female artists more and trying to create a sense of parity on my blog. Most of my requests are coming from men; a lot of what I do is about artists from London who produce the same sort of thing. That might sound gloomy considering the fact I am reviewing Louis Antoniou! What I mean is I have been wiped by a familiarity and lack of engagement. What I have found with Antoniou is someone who goes beyond the conventional and ordinary. His music has a spark and candour that is missing in the industry right now. Because of that; I know he will go far and collect plenty of praise. The double-release, Lonesomeville/I Let the Rain Fall Hard, is a wonderful offering from a songwriter who wants to go as far as possible. Get your ears behind Lonesomeville and experience something incredible. Even though these are the first steps from Louis Antoniou; I know his future will be very busy and bright. In a world with a lot of depression, hardship and struggle; we need an artist, like Louis Antoniou, who…

PUTS some cheer back.  

_______

Follow Louis Antoniou

Official:

https://www.louisantoniou.com/

Facebook:

https://www.facebook.com/Louisantonioumusic

Instagram:

https://www.instagram.com/louis_antoniou/

YouTube:

https://www.youtube.com/channel/UCXaimbme5y2S-fWNm7u5QSA

SoundCloud:

https://soundcloud.com/louis_antoniou

Spotify:

https://open.spotify.com/artist/34nd9ZqVVsFUd3ANXsLSw4

TRACK REVIEW: Titus Makin - Suicide

TRACK REVIEW:

 

Titus Makin

Suicide

9.5/10

Suicide is available via:

https://www.youtube.com/watch?v=tZW5J2kpSnY&feature=youtu.be

GENRES:

Pop; Soul

ORIGIN:

Los Angeles, U.S.A.

RELEASE DATE:

31st January, 2018

_________

THIS time around…

I am looking at an artist who has made big impressions in the music industry already – despite the fact he is pretty young himself. Titus Makin is a hot name in L.A. - and one of new music’s most interesting artists. I will talk about his latest song, Suicide, in a minute but, before then, a few sides of his persona that warrant conversation. I wanted to talk about black artists in the music industry – and the fact they have to fight harder than their peers. I will move on to look at songs that tackle addiction, concerning love and affection; how that can come alive and get inside the head. I’ll also look at actors-turned-musicians and how the disciplines interlock; from there, a chat about L.A. and its always-fantastic scene; artists who are growing in confidence and can make changes in the music industry. I have featured Makin before and was drawn, last time, to his infectious music and gripping personality. He is a bold and arresting artist who can command the listener’s attention and get his music into the brain. His songs, Rope and So Good are his previous cuts, get right where they should: lodged in the heart, mind and soul. It is an effective and physical sensation one gets. I am excited seeing where the American can head and how his E.P., I’ll talk about that at the end, will get him onto the world map. I wanted to look at race in music because I feel, like gender, there is imbalance and division happening in music. Some will argue racial disparity is nothing new: there has always been a bigger platform offered to white artists. I am noticing, as movements come through and voices ring; people are noticing the splits and compelled to d something about it. Maybe Makin does not feel a musical segregation in L.A. – perhaps he has been afforded the same chances his white colleagues have. I feel, still, we are living in a world where the colour of one’s skin is an issue. Music is fairer than some issues: there are still problems regarding certain genres and how black artists are promoted. For instance; mainstream Pop still had that very clean, white and commercial sound.

We have genres like Hip-Hop, Rap and Soul where, for the most part, black artists get a chance to shine. The problem with that is (those genres) rarely assimilate fully into the mainstream. The most popular forms of music – Pop, Rock and Alternative – are largely composed of white artists. I feel there is a lack of respect for black artists that should be tackled and purged at this time. We are seeing gender play a role in music right now: campaigners and artists speaking out against injustice and abuse. One cannot help look around music and, not only notice there are fewer black artists on our screens and promoted in music; their music, I feel, has extra depth and quality. Titus Makin has made a success of his career and not had to battle too much discrimination. I wonder, though, whether his race will be an issue as he attempts to move into the forefront of music. It is conceivable he will be in a position to transcend into the mainstream and make a difference – will he be delayed, slightly, because of his race?! It is interesting to consider but, in many ways, Makin’s success and progression is hugely inspirational for fellow black artists. I wonder whether real change and equality will happen in my lifetime. We are making steps towards gender-equality and some form of improvement. When it comes to race, we can feel and see problems. Award shows are nominating fewer black acts; artists of colour are overlooked in favour of white artists. With big new names like SZA, Cardi B and Chance the Rapper providing exceptional music and fire – things really do need to change in the industry. Titus Makin is a fantastic artist whose songs transcend genre and racial barriers and have struck the collective consciousness. Let’s hope, as music looks inwards and ways it can change, the L.A.-based artist is elevated to the spotlight. There are other aspects of Makin’s music that catch my eye.

Love is a topic explored thoroughly in music. I have seen a trend happening in music. Artists are looking inwards more and concentrating on personal confessions. Solo artists of Pop are taking a more introverted and emotional approach to songwriting. Many songwriters, still, look at love and its various sides. It is a hard subject to get right, mind. I am hearing so many clichés and tropes when it comes to relationships. How many songs, that look at love, have remained in the mind lately? It is impossible adding anything genuinely new to love. You can explore similar lines but, in the case of Titus Makin, he takes a unique approach and, with it, draws the listener in. Suicide takes a rather physical and unsettled approach to relationships. I will talk about the song soon but, for now, a look at the downsides of relationships. The track explores the toxic nature of bonds and how a bad bond can make an impression on a person. I am not sure how many relationships (of this kind) Makin has been involved with. We have all been in the situation where a relationship, we thought was good, has gone sour and taken its toll. It is brave talking about love and putting that negative spin on it. Most of us want to explore something positive and hopeful. We want to look at love and know it is going to be okay for us. If we are to make improvements and become stronger; music needs to give us that drive and impetus. What Makin does, in his latest song, is to explore a dangerous love and how that can take all rationale away. He has been, I assume, in a position where he’s been out of control and guided by a vixen. That poisonous bond has turned his mind inwards – he is looking at himself and how he can climb out of things.

The reason, I feel, the song is addictive and necessary is it looks at the way we can learn from situations like this. Many songwriters revel in love and paint positivity all over the place. It is all well and good talking about the fine aspects of relationships and how good it can be. As I said; we need to have that hope and find something constructive in music. The reality of love is, at times, it can go wrong and mislead us. It is challenging and risky putting a song out there tackling the spiked and harsh elements of relationships. Titus Makin has been through a bad love and changed as a person. Rather than spit hatred and accusation on the page; he has turned his experience into something forward-looking. He does not want to change as a person and become harder. He has had a tough time, sure, but wants other people to learn from his experience. I know many people have been in ruinous relationships and been hooked by that seemingly perfect taste. They get engrossed and invested and, before you know it, the truth comes to light. Songs such as Suicide, on paper, sound bleak and hopeless. The fact remains: one can hear the song and find sympathy for the songwriter. You are braced by the urgency and emotion of the song. Rather than come away from the song feeling drained and suffocated; the listener, instead, is guided and enriched. That may sound odd – you have to hear the song to understand, I suppose. I am looking for artists who stand out and can talk about things like love in a fresh and exciting way. Makin knows the value of relationships and discussing something we can all relate to. If you provide stereotype and common themes; people will get bored and wander off. To grab the mind and remain in the memory; artists need to go further and project something original. Titus Makin is an artist who understands this and provides something fantastic and nuanced.

Many people might recognise Titus Makin already. If you have seen Glee or Star-Crossed (on CW); you might have come across him. He has been in Pretty Little Liars and NCIS. He is currently appearing in Hulu’s The Path – a successful and busy actor who has covered a lot of ground and is making a name for himself. There is more acting to come but, in that Hulu show, he has a chance to learn disciplines he is bringing to music. I have often said how acting and music have a very close association. We watch great dramas and comedies and there is a sense of theatre and performance that we hear in music. The finest songwriters and singers have that acting discipline: the ability to project with verve and conviction; getting under the skin and ensuing your sounds remain in the mind. That is one of the hardest things in music: ensuring listeners remember your music and come back to your stall. In a time when people are less attentive and looking for that new thing – keeping people coming back is very hard indeed. I have heard a few songwriters, today, that have the ability to remain and endure: there are far too many who slip by and do not linger too much. Titus Makin has been in some great shows and learnt a lot as an actor. He has performed in some big scenes and performed in some epic set-ups. He has used his talent as an actor and brought that to the people of music. Listen to a song like Suicide and the fact it is so packed and addicting is the fact Makin has learnt a lot from acting. You hear the song and are immersed in a performance. It is like being in a dramatic encounter where a lover is manipulating the hero. The two are embraced and involved in something deceptive and fraudulent. Makin does not rattle the words off and ignore the bigger picture. He ensures every line registers and the listener is taking every step of the way. It is difficult keeping people focused and involved with a song.

I will move onto other areas soon but, before then, a last look at acting and how that integrates with music. L.A., especially, is a huge market where there are many hopeful actors – all trying to ‘make it’ and get their faces onto the big screen. I know Titus Makin will get there but, rather than put all his eggs in the acting basket; he is a great artist who uses his skills to get ahead of his peers. I know he has trained hard and been in some great productions. We have seen some actors step into music – with shaky results – but the very best balance the different forms. The reason I feel actors can make great musicians – or the other way around – is the fact the best music, in my view, is a performance. Even if a song is subtle and careful – you listen to it and feel a degree of drama, excitement and physicality. There is something in the notes that filter into the senses and remain long in the memory. Makin wants listeners to take his songs to heart and share them; to learn something from them that enriches their lives. As an actor, Makin aims for the same things. He wants every performance to stand out and make an impact. There is a close relationship between his acting work and what he does in music. The danger of working in both fields is the risk of burn-out and fatigue. It is stressful enough making a career in music and trying to be successful. It is wonderful watching someone like Titus Makin making a surge and find success in acting and music. We see him on the screen and revel in his skills and authority. We listen to Titus Makin’s music and feel the same things. He has learnt a lot from both areas and, if anything, has learnt a lot from music and brings that into his acting roles.

It is interesting seeing how L.A. has shaped and changed over the decades. I am based in London and can see how the scene has evolved through time. It is wonderful seeing great bands and Pop artists come to the capital. Rock bands are playing here but there are far fewer decent ones than, say, the 1990s. Rap and Hip-Hop are making a stand; Soul and R&B is fairly strong – Electro-Pop is, perhaps, the fastest-growing sector. The same, to an extent, is true of L.A. The Californian city is burgeoning and overflowing with fantastic music. I have not scratched the surface but there is so much life and activity coming from the city. Pop is still a big market and, over the years, it has grown and changed. We think of L.A. and associate it with constant sunshine and light. Because of that; we have a very limited scope of the place and assumption. Titus Makin is part of a group of people who challenge conventions and take Pop in new directions. Makin brings Soul in and R&B; he integrates various genres and decades of music. One gets that modern blast – but there are aspects of classic Soul and some vintage undertows. I am wary of the impressions we have regarding cities and the type of music they provide. L.A. is such a vast and dominating landscape. I have seen a move happening and a fresh breed taking to the stage. The city is alive and moving; it is bustling and engaging. I hear a lot of great Rock bands coming out of L.A. but, for the most part, it is the Pop sector taking the most ground. Rather than commercial and predictable stuff; artists like Titus Makin and pushing boundaries and creating something fuller and more rewarding. It is not surprising we think of L.A. and think of acting. Hollywood is one of the first things that comes to mind when we think of L.A. If anything; the music coming from Los Angeles is more dramatic, full and fantastical than ever.

I am not saying musicians have tried to create something filmic and ‘Hollywood’. My point is (music of L.A.) is more rounded, colourful and substantial than previous times. I feel the city is more competitive and challenging than it ever has been, too. More and more people are located there and, because of that, it is harder to stand out. I feel that is another reason why the music is so good. Musicians know they need to step their game up and provide something extraordinary – if they want to stand aside and get some success. Like London; L.A. is a wonderful area with an incredible music scene. Titus Makin is making big steps and creating a blossoming fanbase. His acting work – and the fact we recognise his face – has helped bring his work to new audiences. I will end the piece by talking about gigs and whether he will come to the U.K. Although Suicide has been out a while – I meant to come to the song earlier; a bit buried in other stuff – but his E.P., Lean, is out later this year. I know it will gain a huge amount of respect and mark him as a name to watch. It is interesting, given he is an actor, seeing Titus Makin in music videos. The one for Suicide was directed by seventeen-year-old filmmaker, Jake Williams. The head-spinning shots and colour-saturated visions create this dizzying and spellbinding look. Makin pulls out a great performance and brings his skills to the screen. The strong video has drawn people in and seen the song gain fresh kudos and appeal. I wonder whether L.A.’s musicians are so strong and varied is because of the close links with Hollywood. It is easier, I guess, making your music bolder and more electric, if you are surrounded by filmmakers and actors. I am excited seeing how far Titus Makin can take his music – and, whether he will get to the door of the mainstream very soon.

One notices the smoothness and seductiveness of the voice. I have mentioned how Titus Makin, and Suicide, is a Pop affair. If anything; the opening moments portray a Soul king with a heart of silk. The delivery is fine and flowing; the richness and chocolate-like nature of his voice bring the words to life. The tears are running down his face and his heart is stopping. He has to hold on and find strength in a bad situation. The hero wants to remain in the game – even if the sweetheart is messing him around and taking him for granted. Maybe it is the drug-like aspect of the love; perhaps there is a draw and allure that is hard to walk away from. Whatever it is; Makin cannot quit and forget what he is involved with. I wonder whether this hard love, and its damaging candour, is too deep and important to relegate and delete. Makin’s love is worth “its weight in gold” and, although his lover will never realise that; he is not stepping aside and letting it melt. Makin delivers his words with such flow and seduce. The lines race and rise; the voice goes high and the composition remains light. There are beats and electronics but, for the most part, the voice is framed and in the centre. The video sees Makin against a wall with his hands held high. He is almost in a prayer as he pleads for a new chance and appreciation. The colours strike and the visuals portray a confusion, drunken realisation and sobering thought. This relationship is causing strain and creating scars. It has turned and, rather than this wonderful thing; he is being let down and overlooked. Our man has a pure heart and his intentions are good. Rather than value this and keep him safe; his lover is manipulative, cold and calculated. This has caused all sorts of pains but, rather than cut loose and get out – we see the hero stay around and try and see a brighter side. Makin has given everything since the start – his heart has almost committed suicide, as it were – and that counts for nothing, it seems.

Makin is pleading and imploring the gods for some sort of clarity and strength. I am surprised someone would cause Makin any stress and concerns. The reason why the relationship is breaking is not explained right from the start. The listener is free to imagine and wonder what has caused this rift. The chorus sees the voice skip and strike; the beats tighten and it gets bold and invigorating. That blend of Soul and Pop comes to the fore as Makin’s voice is, at once, silken and strident. He rides the beats but pours sugar and spice onto the speakers. I was caught by the waves and the way the song transforms. It kicks up a gear and we wonder whether the duo is going to be reconciled. The chorus is a fantastically ripe and wonderful thing to behold. The voice is so beautiful and soothing; the music alive and alert – it all gets into the heart and causes it to beat faster! The hero is unwilling to depart and wants to know why things are not working. He is a good man and has a kind spirit. It seems like this is the first time that has been ignored and questioned. In a way; Suicide is a rare blow to a human who has given his everything to people. Maybe it is a bad one-off that will never be repeated. I have looked at the song from different directions and wonder why Makin wants to remain with someone who seems so callous. I guess that is part of his nature: never willingly submissive and cold enough to walk off. There is something deeper that means, against sense in a way, the hero clings and stays with his love. They have been through a lot and there is an aspect/ingredient he cannot get anywhere else. It is that stirring and memorable chorus that draws me in. I love the delivery and its juddering, catchy sound! The way the song goes from that fiery and burnishing chorus to the smoother, soulful verses keeps the listener guessing, engaged and hooked. You are involved in the song and feel empathy towards Makin. He has been through the mill and, rather than cast blame and accuse; he is willing to stay true and give his all. It would be easy to walk away and find someone new. Rather than forget everything he has been through and erase it from the mind; he wants to give the relationship another shot and gain some perspective. I wonder, by the end, whether they worked things out or, as I fear, there was no way to heal the cracks evident. Suicide is a terrific song that shows, even this early in his career, Titus Makin is like nobody else. His previous couple of singles have shown what he is truly capable of. Suicide is a wondrous offering from a young man who will go a long way in the industry.

I have mentioned how his E.P., Lean, is out later in the year. Makin has made strides and established himself as one of the brightest young musicians out there. Suicide tackles something tough – toxic love and its effects – and makes it accessible and embracing. You are never put off by the song: one is involved with Suicide and follows it every step of the way. I am excited about the E.P. and will make sure I get involved with it. Titus Makin is busy with acting but, as his music career takes off; he will be looking around the world and getting his music to the people. I wonder whether he will come to the U.K. and play for us here. I would love to see him perform, for sure. There are few out there, like him, who provide such intense and deep music. I have been engrossed in his latest work and questioning my initial thoughts – whether I was right about its origins and qualities. The song has been explained by its writer but, when you listen, you’ll have your own views and interpretations. I have chatted about race in music and how it can be harder, as a black artist, getting respect. Titus Makin might have faced those barriers – in acting and music – but, if anything, he acts as a role model and guide. I want to see changes in the music industry. We have too much racism and sexism in an industry that should promote equality, love and togetherness. It is hard seeing some artists overlooked because of their gender and race. Titus Makin is a stunning and evocative songwriter who is going to do big things in the industry. Suicide is proof he is one of the best young talents around. A captivating voice that ensures every word pops off the page – you listen to his music and are helpless to resist its power. I will leave the review here but want to recommend people get involved and follow Makin. He is making steps and has big plans right now. Whether it takes a few years – or is sooner than that – you know, one day, he will be rubbing shoulders among the biggest names in music. Every new release shows he is growing and building in stature. Suicide is a typically solid offering from an American artist who wants to put his music to as many people…

AS possible.     

_______

Follow Titus Makin

Official:

http://www.titusmakinmusic.com/

Facebook:

https://www.facebook.com/titusmakinmusic/

Instagram:

https://www.instagram.com/titusmakin/

Twitter:

https://twitter.com/titusmakin

YouTube:

https://www.youtube.com/channel/UCNdmJYe4jqvRX7oUX5_G7ug

SoundCloud:

https://soundcloud.com/titusmakinmusic

Spotify:

https://open.spotify.com/artist/45IRcapz9TBzNbgHwRIZSN

TRACK REVIEW: Sasha Brown - Fix of You

TRACK REVIEW:

 

Sasha Brown

Fix of You

9.3/10

Fix of You is available via:

https://open.spotify.com/album/3Bab53aHYFHiCFJmQodOzR

GENRES:

Pop; Alternative; House; Electronic

ORIGIN:

London, U.K.

RELEASE DATE:

16th March, 2018

_________

THIS time around…

I am dealing with an artist I have investigated before. I shall talk about Sasha Brown and her latest track soon enough but, right now; I wanted to look at a few different things. I will look at House music and how that has developed through the years; Pop and the way that has integrated other sensations and sounds into it; artists who are passionate about their careers and promoting hard; the issue of love and relationships; London’s changing vibes and the difference between the music coming from here and other parts of the U.K. – looking at female solo artists and why we need to promote them heavily. There are few who have the same determination and drive as Sasha Brown. Modern artists need to be across every aspect of their careers. It is not good enough sitting back and watching the songs go out to the world: artists need to be involved and driven to make a difference and ensure the music is out there and spreading. That means keeping an eye on stats and who is sharing the music. I am one of those people who has to keep working and can never really sit back. Day and night; it is all about getting work out there and making sure people are reading it. Brown is the same with her music. I have been following her since the debut cut. I am fascinated seeing the way her sound evolves and what she provides with every new release. This time around, there is something special and unusual. It follows songs Model Behaviour and Parallel but, if anything, is the most ambitious and confident. I am always interested charting artists and whether they move their music along through time. Previous Sasha Brown songs have done well: there might have been that need to stick with a winning formula and not alter things that much Instead of go for an easy option; we have an artist restless and looking for the next fix. She has looked around music and seen what is out there – adding fresh layers to the music and ensuring she remains unpredictable and ever-moving.

I am interested looking at different genres and how they have changed over time. Pop is interesting in the sense it modernises and comes forward but seems to have that mobility and flexibility – retaining older strands and flavours. I am looking at House and Dance embers. House music is something I grew up on. The old-skool bangers from the crafters of House remain in the memory and have compelled my every move. I still listen to classic Dance and House music and am transported back to childhood. Whether it is Frankie Knuckles or Olive; a track like Dirty Cash and Move Your Body – we all have those songs that recall great memories and times. There is that darker, more inventive aspect of House that is a bit dirtier and raw. A lot of my favourite House tracks have brought in Pop elements and been successful in the mainstream. Those 1990s anthems have served me well but I realise, as I investigate the genre; there is that other side some of us overlook. I feel the 1980s and 1990s was the peak time for the genre: when breakthroughs were being made and Clubs were transforming. I think back to the 1980s and think about the changing face of music. There was a definite point when Pop music was ruling and House music was reserved to the underground. It never really broke through and became ubiquitous but there was a point where it gained more acclaim and respect. That increased into the 1990s and, in fact, continues into the next decade. I feel now, as opposed past decades, House is not quite as popular and iconic as it was. It is still being played and made but, if anything, Dance music is integrated into other genres: House itself is not as sterling a standalone as it was. Sasha Brown, I can imagine, grew up around the modern House legends and dipped back to the classics. Many of her peers, when thinking about changing sounds; they look at their peers and follow what they are doing – or choose a simple and familiar option.

Brown has seen how her music has charted and, rather than remain rigid; what you get now is an artist moving onto the next plain. Fix of You is not an out-and-out House song: there are distillations of Alternative and Pop thrown in. I listen to the song and there is that blend of classic and modern. There are Electronic passages and distorted vocals; a nod to the 1990s and 2000s House inventors – it all brews and blends into the pot. You have a song that is fit for modern clubs and goes away from the commercial and aimless. I feel a lot of modern House music – that integrates Pop and other genres – is either too full-bodied and fast-paced or it lacks any real passion and depth. Sasha Brown has taken an idea and matched the music to the lyrics. You get spikier, swelling tones that fuse with sexier, calmer threads. Little touches of Reggae sit inside Pop jams; it moves into Electronic and House – taking in some elements of Dance and Future-Beats. One of the things that interests me is the way Brown treats her vocals. She has a strong, soulful voice that I would like to see take more impetus and a stand. I listen to the female-scored House songs of old and notice one thing: the sheer power and panache of the vocal. I can appreciate the need, here, to produce something calmer and more seductive. In future tracks, as she takes in new themes; I would urge her to break the seal and produce something that has that sense of intensity. It is interesting seeing how modern artists inject House music into their own sounds. There is a split between 1980s and 1990s House where anthems were, perhaps, a little bolder: the modern equivalent that tends to err on the side of tease. Maybe that is oversimplified but I feel there is a lot of untapped gold waiting when it comes to House. I shall nod back to the genre in the song review – I wanted to move on and explore other aspects.

I alluded to the way Brown promoted her career and the energy she expends. I am not sure whether she has a P.R. company backing her but, in terms of her music and the way it is promoted; she does a lot of the work and never rests. There is no label doing the lifting and ensuring it gets into people’s hands. That is a good thing in many ways. Artists have that autonomy and can guide their career any way they see fit. Whilst it does mean it takes longer to get that success and popularity; it is more rewarding as you have got there the way you planned. I know how hard it is getting music into people’s ears and how many hours it takes. Unsigned artists have that responsibility and have to do so much. A modern career in music is about endless work and never resting. The benefit of taking care of your own music is you can produce a song true to you; have that personal direction and not be affected by marketing forces and the needs of the label. Sasha Brown knows where she wants to head and you can tell, with every release, what she wants to achieve and where the song needs to go. There are some good promotional shots out there – although, a bespoke shoot for each release (eight or nine images) – would give her social media portfolio an extra layer of intrigue and appeal. Away from emailing blogs and journalists; there is that social media sharing and radio tapping – linking her song to the stations and making sure they play it. Fix of You has been popping around social media and getting far and wide. She never wants to sit back and assume other people will share her music: the desire to have it trending and getting buzz is at the top of her thoughts. I know, given her determination and energy, she will be a big proposition in years to come.

The industry is hard and I am aware there are other artists like Sasha Brown out there. Brown plays around with Pop and House but, look further, and it is inevitable other artists like her will be working away. By that, I mean there will be similar sounds and sonic ideas. It is hard to be unique and stand alone. Given the mass of artists playing and working away; no new artists is immune from a sense of company and familiarity. This does not mean Sasha Brown follows others and is trying to fit into the mainstream. The way she separates herself from others is what amazes me. Few artists manage to produce such a fulsome and changeable sound. I listen to her latest single and it moves through stages and takes in new colours. The production sounds is slightly different – compared to previous songs – and the vocal is less treated and more natural. That can only come from someone reacting to feedback and keen not to be lumped in with other artists. The familiar comes when listening to the themes being explored. Artists who focus on love and relationships always run the risk of being easily figured and guessed. People who look at other subjects are less prone to comparisons and easy prediction. It is understandable a young and energetic songwriter would look at passion and love. It has a commercialism to it but, more than that, it is personal and different. Brown does not talk about attraction and sex the same as other artists. There are few clichés and plodding lines: lyrics come from her mind and there is a new spin on an old subject. It is fascinating the way the vocals, sounds and lyrics all melt and produce something fresh and evolved. So much modern Pop/House seems borrowed and has a staleness to it. Brown has moved in her own way and ensuring people remember her music – by producing something that means more to her; it does not fit into a comfy and easy hole.

Talking about love and relations is quite difficult in this day and age. By that, I mean artists have seen what has come before and realise there is little room for manoeuvre. One of the reasons I am listening to songs like Fix of You is the need to get answers and directions. Unless you are in a contented relationship – even if you are – you are looking for some input from music. I am in the position of being attracted to someone but unable to realise that desire. It can be frustrated standing outside and figuring ways to make something happen. Songs that explore love and attraction come from a songwriter’s heart but are intended to mean something to other people. That is what you can find in Sasha Brown’s catalogue. Fix of You might be more involved and comfortable – in the throes of a relationship – but there are lessons and words that I can take away. Having attraction and wanting someone can be as frustrating as it is inspiring. You are never quite sure how to initiate the first encounter and make that breakthrough. I listen to songs like Fix of You and there is something in it that provides that clarity and focus. It might sound strange but artists can, somehow, understand common frustrations and translate that into music. I am not sure what Brown’s relationship status is but I am sure she’s been in the position where she has pined for someone or felt alone. Maybe she has addressed that situation in a different way; overcome doubts and make that impression – or had to stand back and not say what she wanted to. In any sense; she has managed to take her experiences and channel that into great music. I wonder how much of her music is autobiographical. Fix of You seems to look at a current relation and someone who means a lot to Brown. Maybe it is a temporary thing: I sense something deeper and more meaningful. I can hear more confidence (in Brown) compared to Parallel – her debut single. Things have moved on and new inspirations have come to mind. I wonder how Brown’s music will move on and what her next single entails?

Whilst I try not to focus on the same artist more than once – or leave a long gap between reviews – there is something about Brown’s music that compelled me, for now, to return. It is the area of the world she is in, and the lifestyle she has, that attracts me. I have tried to move away from London and not get too hooked in the city. A lot of my reviews and interviews are based in London. That can get a bit frustrating and make me want to look at other areas. Right now, thinking of Brown, she is based in a very cool area and has a definite style and sense of confidence about her. Around the Hoxton area – she works for Hoxton Radio – you have the ultra-trendy and fashionable of the capital. Whilst her music does not mirror a sense of emptiness and ‘fashion’; her movements outside of music appeal to me. She keeps abreast of all the trends coming from the capital and the best new artists. I have listened to her radio work and she is always keen to support the finest talent out there. I can imagine she spends a lot of her spare time engaged in the cool and youthful energies of the city. It is hard not to be drawn to that sort of lifestyle. From hip bars and eateries to the stylish streets and multicultural avenues – it is a bit of a dream for any artist! Those aspects feed into her music. You listen to one of her songs and are transported into the city. Even when she is talking about romance and personal passions; there is something about the music itself that drags me into London and involved with what is happening at the moment. I feel many people overlook areas further north and what is coming from there right now. It can be hard moving from London and what is coming from here.

What I notice is the way different genres are being represented. There are Pop and House artists in the North but, to my ear, far more in London and the South. What one gets in the North is more Alternative, Rock and Indie sounds. The best music at the moment seems to stem from artists who are reflecting real life and doing something different. I am amazed by new artists like The Orielles and PINS – representing the North and providing music with something fresh and exciting. There are, I guess, Pop elements in their music: what I find is great Rock and Alternative depth. A lot of my London-based reviews are with artists working with Pop and Electro sounds. Maybe there is a reason for the split but, to me, London is all about Electronic sounds and mixing that with other genres. We do have Rock artists here but there is greater success the further up the country you get. Sasha Brown is part of a movement that really interests me. You do get artists who sound very similar to one another – it is inevitable in modern music. What Sasha Brown does is incorporates some of her contemporaries’ music and goes in her own direction. She reflects the beat of London but takes from other genres and areas of the U.K. She wants her music to appeal and compel people all around the world. Because of that, she is more adventurous and open-minded regarding sound, production and promotion. I wonder if she has plans to gig further north and take her music across the waters. That is down to her but, right now, she is accruing fans and making a big impact in music. That can only get bigger and better and she releases more material and grows more ambitious. Before I look at Fix of You; I want to talk about female artists and why we need to feature them more.

What inspires me about modern music is how female artists are taking a stand and demanding quality. We are seeing too much unbalance and unfairness come into music. Rather than provide equal festival billing and promote women the same as men; we find there is sexism and a need for change. I wonder whether that will happen soon – or whether we have to wait years for that to occur. I am not going to go into this too much but wanted to highlight the great music being made by female artists. I am not sure why there is such sexism and imbalance in the industry. You cannot claim the promotion of men – over women – is down to lacking quality (from female artists). In fact, I feel, the best music coming from new music is being made by women. Sasha Brown is an example of someone making strides and producing stunning music. In terms of quality; she exceeds that of her male peers and shows what she is made of. On that basis, one would hope she’d be given a golden pass to festivals and bigger gigs. The fact remains: being a woman means, regardless of her talents, she has to fight harder and wait longer for those chances. It is a sad sign of the times we live in. Maybe things have always been that way: the sexism we see now is growing and seeping into other areas of the industry. I hope things change soon and we ensure every artist is giving equal billing. Sasha Brown will continue to press regardless of sexism and opportunities. I know her endless passion for music will help break barriers and create parity in the industry.

Scrambled vocals and electronic tangle open Fix of You. The song starts with that head-spinning, drunken parable that gets the listener ready and, I guess, represents the head spinning and the thoughts whirring. After that brief moment; we get to the truth and the heart of the song. The beats are electronic and firm; there is a subtlety working in the back that supports Brown’s full and heartfelt vocals. She talks about being caught in the moment and, essentially, having this drug inside her. The hero and heroine have forgotten how to love in a conventional manner. Her heart us fictional and functioning; things are moving fast but, I guess, there is not a lot of conversation, commitment and mutual understanding. The duo is embracing and caught in the fire but, when there is that desire for some support and arms – maybe things are not as steady as they should be?! That is my impression hearing those early words. When things go on – and Brown reveals back-stabbing and ‘friends’ talking about them – another aspect comes through. The vocals become more processed and the song gets more urgent. Those House nods sit with Pop and Electronic and provide a busy and intoxicating cocktail. It seems the match is not approved and people doubt the compatibility. I wonder whether it is the man’s friends who have the problems. Maybe Brown is not someone they envisage would be right for the guy. Perhaps the opposite is true. The production is slick and polished and means notes and vocals and heard and understood. There is a crisp and clean sound yet one that allows a bit of dirt and sweat to come through. Brown produces a commanding vocal that looks at the ill-received passion and what people are saying. Maybe the duo is not as same-minded when it comes to their personality. What they do have is a physical attraction and burning desire – one that the heroine is unable to step away from.

I suppose that heat and intensity is something many people have been involved with. Rationale and common sense seem to lack when you have this desire and attraction. The heroine needs her ‘fix’ and rush of adrenaline. Having that ready source supersedes the voices of others. Maybe Brown has listened to others and has concerned. When the chorus hits, and the song reaches its peak; you sense she is willing to take the risk and stay in the moment. The man might not be bad, per se. He is someone who seems faithful but, perhaps, is not quite right for her. The chorus itself is a soothing and seductive delivery that has catchiness and kick underneath. Brown is masterful when it comes to penning hooks and singalong choruses. That is not to say the verses lack bite and substance: her choruses are fulsome and seriously heady. I hear the influence of U.S. R&B/Soul in Brown’s vocals. One can imagine artists like Beyoncé and Rihanna are draws – maybe a little bit of Country lingering in there? I say that because there is soulfulness about her voice. She growls and has a rawness that seems to fuse Country heartbreak and the sassy confidence of leaders like Beyoncé. That U.S. vocal sound mixes with British House and Electro. It is an interesting combination and one that succeeds. I would like to see, in future songs, that voice really rise and break out. I get the impression, through Fix of You, there is an explosion waiting to happen. Whether that is a sexual burst or a need to shout and have her voice heard – getting that intensity onto the page would give the music and extra element. The lovers are irrational and going around in circles. As the song moves through stages; you are involved in the story and what is happening. The chorus returns and seems to gain traction and new elements. I am hooked by the beats and changeable electronics; the way the song flows and constantly gets into the brain. The listener gets something edgier and darker in the verses (in terms of sound) and lighter, sunnier vibes in the chorus. It is another fantastic and assured cut from an artist who proves she is one of the most promising acts coming from London right now.

It is an exciting time for Sasha Brown. I am not sure where she goes next but I feel there must be an E.P. or album in her mind. She has released a few singles and, with every release, her stature is increasing. Maybe it is time to translate her popularity in an E.P. I know there will be London gigs cropping up as we move into spring: perhaps some performances in other parts of the country will arrive. I guess international gigs will come when more material is out in the ether. It is something Brown should consider and plan for, perhaps, next year at some point. We are considering spring and planning festivals. I know Brown will want to capitalise on her rise and play as much as she can. There are gigs out there for her but, in a competitive city, it is harder getting regular slots and standing out. Great songs like Fix of You will get her name out there and ensure people are listening to her. It is another bold and impressive move from a young artist who wants to go as far as she possibly can. I know she will get huge acclaim and success before too long. Fix of You is a song that warms the spirits and projects sunshine – at a time when there is snow and cold everywhere! Take some time out of your day and discover a great young artist who wants to add her mark to the music world. One gets nostalgic hits and modern urgency in Fix of You; long-lasting impressions and standout moments. Sasha Brown is a hungry artist with a lot…

MORE to say.    

_______

Follow Sasha Brown

Official:

https://sashabrownmusicofficial.com/

Facebook:

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

Instagram:

https://www.instagram.com/sashajadebrown/

Twitter:

https://twitter.com/thesashabrown

YouTube:

https://www.youtube.com/sashajadebrown

SoundCloud:

https://soundcloud.com/sashabrownmusicofficial

Spotify:

https://open.spotify.com/artist/4LdMKTBLuBijq987h2KfOY

TRACK REVIEW: Bull Funk Zoo - She Looks So Fine

TRACK REVIEW:

 

Bull Funk Zoo

She Looks So Fine

9.6/10

She Looks So Fine will be available soon

GENRES:

Rock; Indie; Alternative

ORIGIN:

Dubai, U.A.E.

The album, Down and Dirty, will be released in May

_________

NOT often do I get to travel...

to somewhere like Dubai for my music reviews. I will talk about the area more but, when thinking of Bull Funk Zoo; there are some topics that spring to mind. Their music has a humour and originality that is lacking in the western scene; I am compelled to chat about song subject and adding something different into the mix; the way Rock will mutate through the years; bands/artists who will do very well this year; putting politics and social observation into music; getting the social media profile picture-heavy – finishing by looking at why mainstream music needs to take a broader approach to things. I hear a lot of heavier sounds but, among the anger, there is little in the way of humour and relief. I am not expecting a full-on comedy song but one gets the sense of a very serious writer. This week, on British radio, there are observations regarding lyrics and the best out there – those who are under-celebrated and have their own edge. In my mind, songwriters like Paul Heaton (The Beautiful South) are stronger than some of the ‘classic’ writers. His words transcended tastes and expectations and provided a fresh and intriguing observation. There is a live band when one encounters Bull Funk Zoo on the road - it is, essentially, Assaad Lakkis who writes and performs the songs (so you do not get confused by changing tenses in the review). There is something different about Bull Funk Zoo. The band goes out of their way to deliver music that makes you smile – whilst thinking hard at the same time. I am looking forward to seeing the return of Arctic Monkeys. The Sheffield band are teasing new material and, in 2018, they are a band we really need to see right now. Like Bull Funk Zoo; the boys mix in social viewpoints with a keen wit. A lot of new bands are coming through and, whilst there are some great tunes in the pack; one gets little in the way of escape and pleasure. The messages are sharp and determined but I want to discover something more rounded and deep.

Lakkis' Bull Funk Zoo crafted their music through the years and have that strong connection in the ranks. If you take our best and brightest young bands out there – Shame and IDLES among the pack – you can see some humour and wit in the music. I love the way those bands detach from the mainstream and concentrate on something real and meaningful. The listener is nourished with a substantial message and fulfilling song but, above it all, the taste of a proper band who can mix pathos with humour. Bull Funk Zoo are a similar outfit. They are/Lakkis is able to take a look at the world around them and, rather than make everything po-faced and overly-angry; you experience wider feelings and true personality. I listen to the vocals and rousing compositions and get an impression of Captain Beefheart. That might lead people to the well of the eccentric but, the more you listen, the more familiar and accessible it becomes. That rather strange edge does the band favours. There is that mystical and alluring growl; a barking madness at the back – at the forefront is a familiar sound that brings the people together. It is tough competing in music right now. More artists are coming through so those who want to get ahead need to go beyond what is already there and add their own take. It is hard being unique but, owing to their situation and location; there is nobody out there like Bull Funk Zoo. Lakkis produces songs that get the body moving and the senses engaged. It is a thrilling brew and one that comes to the fore in their new album, Down & Dirty. I will leave this point – but my point relates to original Rock and why it is so precious. Not many artists out there can blend in a humour and casualness with a motivated and intelligent viewpoint.

Western music is very stubborn in many ways. I worry whether Rock and Alternative bands will ever get the credit and legacy they deserve. Part of the problem is that few actually attack and remain in the imagination. It is easy creating some good riffs but, if you do not go further than the predictable, that means your music will be overlooked. There is still the proliferation of solo artists and what they have to offer. Maybe it is the lack of credible working-class bands. I have mentioned a couple but, the more you look, the fewer there are out there. Maybe the likes of Cabbage and PINS will rise to prominence but they still have to fight hard to get credit. I am curious what it will take to galvanise the scene and ensure we have that wave of socially-aware and exciting Rock. I hanker after bands that remind me of the glory days of Rock and update the sound. Bull Funk Zoo has a definite zing and there is a lot to talk about. When their album is released, in May, it will be released into a world that needs their kind of ability. I look for originality and music that stays in the mind and makes me want to go further. I have been following Bull Funk Zoo for a while and have seen the music evolve and expand. Their new work is their most fierce and compelling so far. Maybe that is compelled by the state of the world and the political machinations unfolding. The guys do not only look at politics and divisions in the world: they look at media propaganda and toxic people; inequality and imbalance in the world. It is the subject of a song that gets into my head first of all. So many of our bands are writing about love or, if they step beyond the ordinary; it is all rather stale and samey. Bull Funk Zoo can address common concerns but do things in their own way. They perfect a difficult trick and, in doing so, make one think beyond music itself.

I will move to other things but, before then, I want to look at the Rock profile and how we can celebrate artists who want to change the world. There is anger and the need for improvement and conflict. Bands see what is happening in the world and how people are reacting. Rather than remain passive and uninvolved; they are striking away and urging people to take action. It is not on the same level as a full-blown revolution: the musical initiative is a call-to-arms and a way of engaging the masses. If you only talk about relationships and stuff like that; it is not going to linger in the imagination and provoke any change. The world needs to change. We are at a point where leaders are guiding their people into the jaws of Hell. We are all less happy than previous years and unsure how things will work out. I am not hopeful, with the regimes we have in place, there are going to be positive steps. I am not sure what it is like in the UAE – Bull Funk Zoo are in a different nation but still affected by politicians from around the world. Their country might be safer and more secure but they are under threat from leaders in the U.S., U.K. and North Korea. Nobody is safe in the world: the provocative and beguiling music of Bull Funk Zoo is a way of getting people involved and taking steps forward. Rock will change and things will get stronger in the scene. I am interested seeing Pop take a stand and the best artists emerge – a great, young breed who have imagination and step away from the boring chart-bound artists. I am interested in what Bull Funk Zoo are doing and hope their music spreads across the world and gets them on the road.

When they hit the stage, and get the music into different nations - that is an effective way of spreading the message and reaching the people directly. I know they will have shows in Dubai but, when the songs start to pick up heat; many other countries will want to see the band come their way. The guys have a reputation and base so far: this can increase and stretch when their new album is released. I will talk about a song from the album in a bit – a possible single – but, before then, a look at Dubai and the UAE. It is not a part of the world many of us know too much about. We think about Dubai and get visions of riches and extraordinary wealth. Sheikh Mohammed bin Rashid Al Maktoum is the Prime Minister of the UAE and stern leader – respected by the people but tough of character. I think of Dubai and get impressions of skyscrapers and hyper-cars; shiny, bling buildings and luxury. I know there is a music scene there but not on the same level as the U.S. and U.K. I am interested what is happening there and whether Bull Funk Zoo/Lakkis will stay where they are. Dubai is a huge and expansive area of the world but not somewhere that has the same musical investment as Britain. I am excited seeing whether other bands come out of there. We all get the impression somewhere like the UAE is going to be all-western and not have their own artists. Jay Abo, Jamil Jabbour and Millie Page are making waves in the UAE. Rony Sarkis and Michelle Wong have either made music in Dubai/UAE or grew up there. There is diversity and rich musical seam coming from this part of the planet. I am not sure what the music venues are like but there must be opportunities for artists to play. A lot of international artists playing in the UAE and it is home to some influential people.

I get the impression places like Dubai will come to prominence in the coming years. The likes of Bull Funk Zoo are putting their home on the map and making sure people look their way. One will hear Arab-sung music on their upcoming album – the guys do not betray where they are from and what is in their blood. I am excited seeing what comes from the record: a combination of familiar Rock and national strands will work alongside one another. It is great getting the chance to view a part of the world not many focus on. We all get hung up on the predictable and seen: the opportunity to explore and study a new culture is always a treat. The UAE is a great place to make music and does not mean artists are disconnected from the rest of the world. Bull Funk Zoo have played in the U.K. and I look forward to seeing them come over here soon. We all need to find a band who can articulate the needs of the masses and where music needs to head. In my mind; that is a brew of political and social lyrics; strong songs that stay in the mind and a sense of the fun. Bull Funk Zoo provide this and take the listener somewhere special. It is a fantastic sound and one we need to proffer and promote as much as possible. I will finish up this topic but am interested in UAE and the sounds coming from there. I am curious to go there and see whether there is something in the air. I have not encountered anything like Bull Funk Zoo over here – leading me to believe there is a way of life there that promotes bands like them. I know the guys will do very well this year and, with artists like Jack White and Arctic Monkeys releasing new material – Shame have already released – there is a need for impetus and strength.

Bull Funk Zoo have an arsenal available but, if anything, it would be good to see the guys/Lakkis get their faces on the page a bit more. I have a few images peppered through this review but, like a lot of my assessments; there is a photographic concern that leads me to point in the direction of professional snappers. The band/Lakkis has a tight bond and a look about them that compels more investigation and visibility. It would be nice to see more images when their album comes out. What they have now is fine but some new shoots would add to that. They are in a part of the world where there are great sights and plenty of fantastic shots. I know they will expand their social media pages in the coming months but, right now, they are gearing to release a new album. With that; there will be gig demands and requests coming through. Not only is it important to get the music out there: having some fine images and shots will add to that attraction and appeal. I would like to see the band release a dozen images of them/him larking around in Dubai. Maybe they could do some conceptual shots and have that included. There is plenty of scope and potential for fine photos. That might be coming up but, in a world where music consumes every waking hour – is there enough time to get photos taken and concentrate on that side of things? The war for attention and promotion is down, partly, to good social media promotion and stock. I wonder whether people are looking more at an artist’s looks and pages – as opposed to their music and what they are producing. I feel a blend of the two is the perfect combination. I feel there is an urge for artists to deliver something explosive, exceptional and wonderful. One can discover this kind of music out there – will we all hear about it if the music is not being promoted on social media? It is a vital instrument and part of the modern machine. Bull Funk Zoo get the word out there but, the way of increasing their base would be to get some more images to the fore. I am excited seeing what their album cover looks like and whether they release any special photoshoots around a certain idea.

I will get to the song in question, She Looks So Fine, but, before then, end by looking at the mainstream and why we need to take a broader approach. I have talked about politics and mixing social observation into the cauldron. I know there are some bands lighting the flame: there are not as many as there should be out there. One thing we need to do is have a look at the mainstream and the artists being proffered. I shall not take to attacking musicians like Ed Sheeran but there is something concerning when people go nuts over something so simple and thread-bare. There is not a lot to recommend in his music past a sense of ease and accessibility. The songs are harmless and do not really challenge the mind. That is okay in small doses but, if we want to see music develop and inspire new generations – do we need to promote artists who produce sounds more essential and rich? I think so and, more than that, wonder if we need to reorganise the mainstream cabinet. There are some great Pop artists coming into the argument; some underground bands who could impregnate the scene in a few years – a chance for adaptation and revitalisation. I would like to see more international artists assimilated into the western scene. We have a lot of U.S. and U.K, artists here: not too many European, African and Asian acts (and Australian, for that matter). There is a rich seam of music anywhere you look. The only way we are going to keep music relevant, fresh and intriguing is diversifying and expanding. If we remain narrow and stubborn then that is going to cause problems. Bull Funk Zoo is a band/project I would like to see play a bigger role in music. Let us carry on and have a sneaky peek – me, not you, I am afraid - and come to a cracking new song: the mighty and imperious, She Looks So Fine.

The heroine is mentioned and emphasised from the first notes of She Looks So Fine. There is something of the temptress and bad influence in this song. The initial lyrics lead me to believe the hero is being hypnotised and struck. He has been affected by this girl and, right away, there is a big impression being made on him. There is a bit of a lead-in – in terms of the story and what the girl is all about – but, before you know it; the song kicks into gear and the composition comes to light. The guitars bite and twirl whilst the percussions slam and pelt. It is a gritty and raw and gets the listener hooked right away – a stunning start to the song! The girl looks incredible and it seems like trouble is afoot. I get the sense the two know one another and there is a bit of a history between the two. There is the insinuation of sex and approaching explosion. Such is the heat and animal intrigue working away – it can only be a matter of time before they get down to things. The sweat bounces off the speakers as the composition looms and slams. I get whiffs of Audioslave and Rage Against the Machine in Bull Funk Zoo’s latest cut. I can hear a bit of Tom Morello (Audioslave and Rage’ guitarist); there are some meaty Chris Connell (Audioslave and Soundgarden) vocals and the sort of sounds one heard back in the 1990s/early-2000s. It is a blast of nostalgia and heady remembrance. Rather than revert to the past and replicate what has already come: the band has their own manor and they put the listener in an arrested and excited state. The girl has luscious lips and crazy eyes – she sounds like a keeper! – and has got the hero all confused and steamed. He is losing his head and, with it, embarking on a rather dangerous path.

I wonder, as speculated, the two have history and this is another chance to rekindle something. The heroine sounds like a bit of a risk and danger. She has a passion and sense of beauty but there is a little bit of unease creeping into things. In fact – going back to artists I am reminded of – and we get a blast of Metallica emerge. That combination of Metal and Alternative gods means the song has natural authority and potency. The girl is getting our man crazy and overwhelmed. The clothing is being ripped and the ecstasy looming. One cannot help imagine the thrall and physicality of the encounter. Whereas other songs in the Bull Funk Zoo album collection will look at political and deeper issues – we have something less worldly and intellectual than one will encounter. It shows Lakkis has different sides and is able to mix the accessible with intelligent. There is plenty of depth and range in She Looks So Fine. The track gets right into the blood and the listener is pumped and moved. It is a song that will do great business on the stage and get people fired. It is a natural anthem and one that gets right into the head. Lakkis has always been intense and evocative. Here, he has stepped up the game and produced one of the strongest cuts yet. The bass and guitars twang and sting; the percussion is studded and swaggering – the song breaks off to indulge the taut and brilliant playing. The band are tight and show how muscular their sound is. The sense of desire and intensity never relents. She Looks So Fine is a powerful and dynamic workout from one of the best Rock acts around. The production is polished but allows rawness to come through. Everything is at the fore and the song continues to fizz and spark long after you have heard it. I have listened to the rest of Down & Dirty and can attest to the fact She Looks So Fine is no fluke: the remainder of the songs are up to the same standard! If you have not involved yourself with the pleasures and layers of Bull Funk Zoo; make sure you get the album when it comes out – it is spilling with anthems and those that will keep the strictest Rock-lovers happy and fulfilled! Few can deny the heady pleasures of She Looks So Fine and what the song does. It is a brilliant jam and moment that will have the listener up and dancing. I wonder whether a video will come and what it will involve. Knowing Bull Funk Zoo; I can imagine it will be full of humour, brilliant scenes and fantastic sights. Lakkis has penned, what I think, is their/his most instant and mesmeric songs. It is one I will continue to listen to and, the more I hear it, the more I pick up. An exceptional performance from a musician whose levels of confidence is at a real high right now. This all means, come May, eyes will be on them and what Down & Dirty will produce – I am among those who will clamber to get my hands on it and see what it all about!

I have talked a lot about music and where it should head this year. I am excited thinking about Rock music and what role it will play this year. We have already been given a good dose of snarling, relevant music this year. I know Jack White and Artic Monkeys will add to that – some great British bands ensuring Rock remains in the mind. I know Bull Funk Zoo/Lakkis have their own take but I would like to see them come over here and deliver their sermons to the people. The songs look at issues that are important at the current time. They look at the media’s role in the world and how we are being brain-washed and fed all sorts of lies. Lakkis addresses love and everyday life but adds his own spin and thoughts. I like the way he takes social and political stands but never gets preachy and too angered. There is always wit and humour working in everything he does. The music bursts with colour and candour; the vocals are engaging and unique; the lyrics demand a repeated investigation – everything you could want from a band/artist. Bull Funk Zoo have gained success and adulation already. A lot of the previous videos have scored big figures; they have performed some great gigs and want to take things to the next stage. Down & Dirty will, among other things, splice in a sample of Dr. Martin Luther King Jr. and see a cover of a Sex Pistols classic; make us think about hurtful people and the way the world is unfolding. It all sounds great and appealing on paper: discovering how that comes to life in the music will be the big thing! I shall end this now but have been thrilled by new Bull Funk Zoo material. People will get to hear it very soon – for now, She Looks So Fine is private and will get an airing soon enough. Keep your eyes on the pages of Bull Funk Zoo for announcements and developments. Look at their past work and study a band who have achieved so much already – they are not stopping and, in their own way, want to…

CHANGE the world of music.    

_______

Follow Bull Funk Zoo

Official:

https://www.bullfunkzoo.com/

Facebook:

https://www.facebook.com/bullfunkzoo/

Instagram:

https://www.instagram.com/bullfunkzoo/

Twitter:

https://twitter.com/bullfunkzoo

YouTube:

https://www.youtube.com/user/BullFunkZoo

SoundCloud:

https://soundcloud.com/bullfunkzoo

Spotify:

https://open.spotify.com/artist/3MxWxXwQqT9c266r1voswP

TRACK REVIEW: Tiger Lion - Prayers Against the Sun

TRACK REVIEW:

 

Tiger Lion

PHOTO CREDIT: Meg Lavender 

Prayers Against the Sun

9.6/10

Prayers Against the Sun is available via:

https://www.youtube.com/watch?v=dBiN8hBVJSQ

GENRES:

Ambient; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

7th March, 2018

The E.P., Beyond the Mountains, is available from 6th April via L'Aurore and Republic of Music. Pre-order the E.P. via:

https://itunes.apple.com/us/album/beyond-the-mountains-ep/1331495705

_________

THIS one will be interesting as…

PHOTO CREDIT: Katrina Stamatopoulos

there are a lot of new angles to cover. I will look at the three-piece, Tiger Lion, soon – led by Clémentine Blue – but, right now, there are some other topics to cover. I will look at embracing nature and the physical world for music; feeling pressured by busy cities – and having that contrast of a more idyllic and simplistic lifestyle. I will then look at artists who absorb pieces of their life into music; creating a wonderfully full and eclectic sound together; taking the listeners somewhere strange and special; artists who will stand out as we head through this year – where Tiger Lion could head, in terms of touring. There are not many acts out there who look to nature when writing music. I have been looking at Tiger Blue’s music and biography and picking up on some little details. They, especially Blue, has been compelled by the lack of stress one gets from far-off places. She has been inspired by the thin air above the mountains – compelling the title of the trio’s upcoming E.P. – and other elements have come into the fore. Waterfalls, bells and natural sounds: aspects that define a certain peace and tranquillity. One gets these sonics in the music: the beauty and gracefulness of the natural world come through in every note. Artists such as Björk have brought the natural world into her music since the beginning. She is one of few musicians who take from the planet and brings the listener much closer to nature. One can say artists like M.I.A., through sampling, have included bird-song and calls: others have integrated the sound of whales (Kate Bush) and the ocean. There are not many, now, who channel something organic and pure. Artists are concerned with electronics and machinery to heighten their music. Whilst there is some of that in Tiger Lion’s music – one gets the sense of a group unwilling to surrender to the power of organic sounds and inspiration-points.

When looking at modern music; I wonder whether there are too many synthetic elements being brought in. One hears acts like Tune-Yards bring foreign beats and international sensations into the music – how long has it been since we had a modern scene defined by something honest and unfettered? One hears various acts bringing odd instruments and aspects of nature into music: Tiger Lion fuse the modern-day urgency with something free-flowing and calming. That is a brew they should patent and retain. Prayers Against the Sun, as the title implies, is not a song about late-night drinking and broken love. There is an ethereal and divine flow running through that connects with the planet and looks at another place. The video was clipped in Gambia and, when listening to the song, you get sensations of Africa and the sounds coming from there. The visuals beautifully melt with the lyrics: a harmonious relationship is formed and you get a wonderful little film. Listening to the song; I detect dance and ceremony. This direction was compelled by Tiger Lion, and Clémentine Blue, visiting Africa and getting away from the city. Absorbing a very different way of life was the tonic needed – able to detach from the city and finding something more substantial and ‘zen’. There are other artists – such as Vampire Weekend and Paul Simon – who have brought in African shades and nods to the natural world in their music. If one can successfully combine that with the rawness and accessibility of modern music – some Electro and Pop layers – then that is the best combination. Tiger Lion do this successfully and, if anything, add their own personality into the blend. I will move on from this area but, before then, I wonder whether Tiger Lion will continue to take inspiration from Africa in their future work. The E.P., Beyond the Mountains, explores the area in more detail – it will be interesting seeing where they go from here.

There is a lot of nature and other cultures running through Prayers Against the Sun. I get blasts of Paul Simon’s Graceland with artists such as M.I.A. and FKA twigs. There are so many different elements working away: that sort of training really only comes from the city. The trio is based in North London and, as such, have had access to the hectic rush of the place; the multicultural people and the general pace. The reason Tiger Lion evolved their sound the way they have is down to the city: the need to get away from the bustle and find a contrast. The city was magical and beautiful: the strain and endless stress were enough to see a retreat occur. Many of us, exposed to the city, needed to get away and go somewhere that offers a new way of life. In an odd way; the city is a muse that can give artists influence and new life – even if it is ironically done. Tiger Lion have embedded themselves in London but, after a time, the rawness and grip of the population meant alternatives were needed. I have been looking at parts of the world that could provide influence to artists looking for new impetus. It seems Africa is the perfect place to do that. I have never been to Gambia and the area – it is definitely somewhere worth exploration and thought. One cannot depart from somewhere like London and live in Africa – the poorer areas – full-time. I have been looking at busy cities and whether they are the best places for new artists. Sure, there are opportunities and success available there: the pressure and endless strain can create a toll and damaging effect. It is all very well being secure in London and having the sociability at your feet. The more time goes on; the greater the pressure gets. It is, therefore, desirable to get away and recharge the batteries. I am not sure whether Tiger Lion are going to return to Africa or, after this experience, they are going to remain in North London.

There is something to be said of simplicity and getting away from everything pressurised and full-on. Clémentine Blue, when speaking about the inspiration behind Tiger Lion’s new song, had this to say:

"'Prayers Against The Sun' is about suffering from being in London. It can be so heavy that it’s almost like the city becomes a strange character in your life. Everyone is praying for a sun that never comes. But there is the weird satisfaction of going through it all even if the city is so dirty, so free, so grey, so fascinating, so ugly, so beautiful all at once. This contradiction of staying there even if you never felt so alive than naked in the burning sun of Gambia, having a cold shower from a bucket as I did last summer."

It is clear a busy city, even if dirty and smoky, can produce beauty and brilliance. I have been in London for a while and know how brilliant the people are. There is a sense of community in various areas: it is not always detached and cold. I go there to find something fulfilling and encouraging; getting some spirit back and having a smile put on the face. There is an argument against the city: when things get bad; many will want to go somewhere with a gentler pace of life and something simpler. The fact Tiger Lion’s lead found so much solace and heart in Gambia meant new material would have a different vibe. It is hard to explain the feeling of taking a shower in Africa from a bucket – just cold water and the expanse of the land. You bring that alongside a flat in London – with traffic running outside – and they are two different worlds. It is interesting exploring more the way a new nation/people can impact a band/artist when it comes to new material. Not only have Tiger Lion managed to relieve stress and escape from the swell of the city; they have taken compositional instruction from their surroundings and injected that into their core sound.

The eclectic and fulsome sound is something that really gets under my skin. I mentioned how a lot of modern acts are too focused on electronics and sounding a certain way. They are concerned with fitting into the mainstream and having that urgent, big sound. It is great discovering music that resonates and sounds familiar right off the bat – where you can bond with that song and take it to heart. I find that is good in small doses: having that endlessly put before you can be a bit tiring and boring. I long to find music that goes deeper and takes its visions from other areas. Tiger Lion’s story and development intrigue me. Tiger Lion bring in elements of St. Vincent (melodic flourishes) with the asymmetrical tones of Tame Impala; Throwing Muses’ intensity and burn; little bits of other artists. I have been looking for new artists who go beyond the ordinary and remain in the mind. I love a lot of new artists but feel they do not linger for long. You might listen to a song (or two) and that will be nice – and then it slips away and you do not feel compelled to go back. Tiger Lion goes further and bring the listener something much more rounded and original. You get the modernity and Western sounds one would expect: there is another layer of unique and colourful fabrics one was not expecting. This combination is a potent force to be reckoned with. Looking forward; I wonder whether there is going to be any more African guidance; if the band will look to their roots. The trio are (mainly) French and, as such, would have been exposed to natural, native sounds from a young age. Music is much more than the sound and effect one gets. I want to discover something much more physical and deep. If a band/artist can make you think harder and compel you to look at the world in a different way; surely that should be encouraged and brought to the forefront – much more meaningful and special than a lot of what is happening in music right now.

Before coming to the song itself; I will take a couple of other points to mind. Those artists who dare to dream should be given a safer and sturdier platform. I am not too fond of those who come into music and want to replicate everything already out there. The lyrics might be personal but the music sounds samey and formulaic. There is a danger if an artist takes the listener too far away from their comfort zone: it can be hard connecting with something so new and unusual. I have mentioned artists who incorporate African sounds, like Paul Simon, and how delightful that is – Graceland remains one of the finest albums ever. I am surprised more artists have not followed that led and taken soul from the album. There are some artists who have been compelled – including Vampire Weekend – but it seems not that many have taken the mantle and run with it. Tiger Lion has kept a flicker alive. They have mixed that with traditional Electronic music and Alternative; some nods to France and the bustle of London. The cocktail they have created keeps one part of your brain in the present/U.K./West: the other part goes somewhere quiet, gorgeous and mystical. The clash of the two worlds comes alive in the wonderful single, Prayers Against the Sun. I am keen to promote music that explores new lands and strays away from the clichéd. Tiger Lion are a fantastic force with many more years ahead of them. I wonder whether London will remain their base. It is clear their experiences in Africa have provided a new lease and objective. I wonder whether that beauty and transcendent experience has provided new perspective and focus. The city of London remains and does not change too much – it gets busier, but that is about it. I wonder whether Tiger Lion’s touring plans will alter and be affected by the impact of Africa.

Touring is something they will think of and be involved in. They have an E.P. release part on 9th April – that will happen at London’s Servant Jazz Quarters. It will be exciting to see the trio on stage, putting that music out to the people. There will be other opportunities coming but I wonder, given the global nature of the music; that will take them further afield and see their ambitions expand. I can see Tiger Lion going to the U.S. and bringing their music there. I know the people there would take the music to heart and bring chances the way of the trio. It might be worth thinking about that going forward. They could do great business in the U.S. and get tour dates right across the country. The U.K. is welcoming Tiger Lion – and there will be more London gigs – and there will be many other chances to play around the nation. One has to look at Tiger Lion and how far they can take their music. I think there is going to be a lot of heat coming from around the world. If they can keep the pressure up and spread the music through the Internet; that will lead to many chances to get to the people and see new lands. I am not sure whether Africa is part of their agenda. I guess there are spaces they could play over there. Maybe Australia is somewhere they could get some gigs and love. It is exciting times for the trio and, the reason I bring this point up, is the fact their music has such a physical and exciting quality. It is best heard on stage and up-close. I will try and come see them; I am interested seeing where they can travel and how many people they will reach. Make sure, if you can, you go see the intrepid force.

Tribal beats and haunting vocals come to the fore at the start of the song. Prayers Against the Sun projects something mystical and strange; people going out into the open and prostrating before the sun. The song moves seductively and snakes through the grass. There is taboo and voodoo cackle as the hollow beats produce all manner of visions and hallucinations. One hears a nice mix of the inexplicable and traditional. It is a ghostly and transcendent song that gets the imagination firing and all manner of visions working away. I am not sure the name of the instruments – excuse my ignorance… - but the percussion is fantastically exciting and physical. You are compelled to follow the beat and go wherever it leads. Tiger Lion do not throw everything into the mix right off: the song builds slowly and keeps that subtle and sparse aspect. There is a shaker and those extraordinary vocals. Blue’s tones echo and quiver. It is a spectral presence that perfectly mixes with the beats. It is hard to listen to the song with eyes open. You need them closed to imagine what is happening and take everything in. The brew is heady and the effect quite stunning. I was bowled by the sheer power and grip the vocals have. They are wordless but have such resonance and primal urges. You are sucked into the song and transported to the mountains. I imagine paen and prayer; the sun going down as people gather to offer thanks to the sun. Few can deny the spiritual nature of the song. It is a wonderfully pure and graceful song that calms the spirits but, as it moves along; new aspects come to play. The heroine comes in and feels it too – there is an instant connection in her heart. Some of the words do get tripped and lost in the composition – the production means the instruments are firm but the vocals are a little blanched. What I did pick up on, early, was the importance of the sun and giving everything to it.

Blue is immersed and entranced by the power and healing glow of the sun; the mountains and the atmosphere are swimming in her soul. That soul needs smoke and fire; it needs comfort and protection – it needs a spark and sense of fulfilment. What one experiences is a lead artist who has taken so much from her time in Africa. It has been a revealing experience and one that has changed her life. Backed by those insistent beats and the encroaching mood; the listener is helpless to channel the experience and colours. It is an endlessly evocative song that makes one think. The heroine talks about the strangers in the city; the endless prayers against the sun. I was thinking about the meaning of that metropolis-prayer. The people’s sun might not be a hot ball of gas. Their sun is polluted and obscured by smog. Maybe their prayer is more speculative and metaphorical. In the case of Clémentine Blue; she has lived in London and been impacted by the energy and busy nature. Part of the commuter lifestyle; the anxiety one experiences living in the city. I can relate, in a sense. You can get buried in the people and things can get a bit too much. Blue has been there a while and vibes from the people and rush. It is not all bad for her but, at a certain point, there was the need to get away and find something else. Africa has provided a more natural and calm landscape. The people and religions; the smaller communities and the way things are done there – a contrast that has affected her blood and made a big difference. Able to compare those disparate settings has led to a fantastic song. If one watches the video for Prayers Against the Sun and you can see dancing and celebrating; cooking and cleaning – a snapshot into the life of Gambian people.

Towards the late stages of the song; you take in new guidance and thought. The instruments get stronger and the entire song gets heavier. Things rise and swell; you are drawn into the strange and fantastic thing. The heroine is back on the microphone and talking about her experiences. She feels that allure and connection with Africa. She feels the energy of the city and how, even when it is bleak, there is inspiration to be found. She hopes we can feel her – she’s sending her messages out and trying to connect with the listener. I wonder whether her talk of being understood and felt relates to those listening to her music. Maybe there is a compatriot or sweetheart that has been estranged and needed that guidance. The fact Clémentine Blue has gone away and discovered fresh life has provided a new lease. Maybe there is someone else that needs that lift and push. They have been disconnected and lost in the city, perhaps. It might not be practical to go to another continent and spend time in a smaller place. Blue has managed to evaluate her life and get a new perspective. It has been hard for her lately: not able to effortlessly live among the London people and keep going as normal. The fact she managed to find some good in the city – it is always compelling – is to commendable. Africa is in her heart and the sight of the mountains/sun have fed into her psyche. It all comes together in an exceptional song that goes through stages and produces something unique. You cannot escape the potent smells and arresting sites presented throughout. By the end of Prayers Against the Sun; one is in a better frame of mind and things about their life in more detail. It is an inspirational thing that signals fantastic times for Tiger Lion. I cannot wait to hear their E.P. and whether the remaining songs have the same flavour as this.

The trio have already released two thematic E.P.s: Outremer and The Moon Inside Me. The former was more concerned with spectral, oceanic songs: the latter, a darker and ritualistic collection. They have covered Heart of Glass – giving it a sadder twist – and now, come April, they bring a fresh E.P. to the world. Beyond the Mountains retains that natural spirit and curiosity of the world. Rather than take us to the heavens and under the ocean: now, we have songs that lead us to Africa and incorporate fresh ideas. Tiger Lion were never going to be conventional and look at ordinary, traditional themes. The trio are always concerned with the natural world and parts of the planet few treads. This wanderlust and innovation put them in good stead. They have a critical ear and have accrued a healthy fanbase. The song-cycle of their upcoming E.P. takes us to the thinner air of the mountains and a haven that provides introspection and reflection. Landscapes and the open are used as templates to discuss childhood experiences, love and ambitions. Clémentine Blue collated waterfalls and natural sounds; she gathered those free and pure sounds to bring to the E.P. It was a scary and unusual experience for her. She was in the vastness of the land and in a town with new people – a way of life that was nothing like her London existence. I know the trio launch the E.P. in April and, before then, one can get their ears around Prayers Against the Sun. It is a fantastic song and one that will recruit new fans. I am keen to push the track as far as possible: others will share the magic and take guidance from the words/music. There are few acts out there that genuinely take leaps and challenge conventions. When they do come along; you need to embrace them with both arms and keep it tight. I know this year will provide fresh opportunities for Tiger Lion. They are moving forward and exploring new spaces; they are bringing in fresh inspiration and, with it, creating…

THEIR finest music to date.  

_______

Follow Tiger Lion

PHOTO CREDIT: Meg Lavender 

Facebook:

https://www.facebook.com/eyeoftheTigerLion

Instagram:

https://www.instagram.com/eyeofthetigerlion/

Twitter:

https://twitter.com/Clem_TigerLion

YouTube:

https://www.youtube.com/user/eyeoftheTigerLion/

SoundCloud:

https://soundcloud.com/eyeofthetigerlion/

TRACK REVIEW: Mïrändä - GLOW

TRACK REVIEW:

 

Mïrändä

GLOW

 

9.5/10

GLOW is available via:

https://open.spotify.com/album/5VyLAu6a5fJMepIO3FJl7o

GENRE:

Electronic

ORIGIN:

New York, U.S.A.

RELEASE DATE:

2nd March, 2018

_________

THIS review provides me the chance…

to look at a variety of different things. I want to explore female talent and why, this week, it is especially important we throw a light on them. I will look at N.Y.C. and why the area continues to produce fantastic music; how geography and diverse landscape inspires music; transcending limitations and going beyond simple boundaries; gaining kudos and getting the backing of other artists; artists who stand out on their own and do not follow the pack; creating sound textures and collages – ending with a bit about music’s future and why we need to make some changes. This week has seen International Women’s Day and, with it, a host of blogs, features and interviews springing up – all celebrating women in music and what an impact they have made. I think about Mïrändä and the fight she has on her hands. That is not to say her music lacks killer conviction: she is a stunning act but, in an industry that is still imbalanced; there are so many obstacles in the way. Female artists, and women in the world, have to fight to get the same recognition as the men. It is worrying seeing so many fantastic musicians overlooked because of their gender. Mïrändä is fighting and producing some great music but, as we move through 2018; I wonder whether we need to take decisive action and intervene. To me; female artists are providing some of the best most attractive music around. I am pleased there is that range and originality available to the consumer. It is good to see artists away from the mainstream go beyond what we expect and create wonder. The N.Y.C.-based artist has made some big steps and is one of the most innovative and stirring acts I have heard. I do find it stupid many overlook female talent because of their gender. If there was an issue of quality – they were lacking any clout and ability – then there would (I guess) be an argument for this kind of slight. As it is, we are seeing a disparity and gulf based on nothing at all.

The only way there is going to be evasive and fast action is elevating the finest female artists around. The trouble is this: there are so many musicians to choose from; it is dizzying and challenging. Mïrändä is one of those people who will not let things rest and will continue to forge her way through music. She is getting a lot of respect and making waves in her native area. The imbalance in terms of gender is one of the biggest curses we have in modern music. If we continue to let this practice continue then we risk marginalising some of the finest artists around. I will move onto other areas soon but, before then, another reason why we need to embrace female artists and everything they do. I have mentioned innovation – and will continue to do so later – but fee there is an extra layer of magic inherent in the music of female musicians. Maybe it is their natural passion and curiosity but, when I hear female-made music; I get something lacking from the men – a spark and touch that goes beyond the ordinary. One can argue this is bias and personal preference but the story is the same with many people. I hear of others who have the same feelings when it comes to female acts. In the case of Mïrändä; she combines an immense beauty and physicality with an intelligence and soulfulness. There is something endlessly fantastic about her sounds and what she does to the listener. Once you hear a snippet of her music; there is pull and effect. You get taken in and immersed in a safe and comfortable place. It is impossible to detach yourself from Mïrändä’s great music and sound. That makes the argument about gender in music completely stupid. There are incredible artists out there, like Mïrändä, who provide music that goes beyond anything you can imagine. The fact she, and others like her, are given fewer opportunities than men makes me wonder what has happened to music.

I have stepped away from New York a while so, with the arrival of a new artist; it is time to get back there and investigate the area. The state is so vast that it is impossible to get a good grip on things and a proper understanding. The five boroughs have a very different flair and flavour: depending on where you go; there is something that suits your needs. I have never been over there myself – I plan on doing it – but have been invested in New York since I was young. There is the rush and energy of the place; the different people and cultures. I am excited seeing the state burgeon and influence. That has always been the way but, now more than ever, I feel New York will play a huge role. London is fantastic and continuingly broad; there are other wonderful cities that get into the head – none that have the same impact as New York.  I am not sure what part Mïrändä is from but she vibes from the sounds and sensations of the streets. What gets me about her music is the way it encapsulates all the colours around her but has an accessible quality. It is important musicians make sounds that are different but manage to strike a relatable chord with the listener. I am stunned by the eclectic and wide-ranging nature of the New York music scene. Every neighbourhood and corner projects its own flair and inspiration. It is a bustling and kinetic part of the world that has majesty like no other. I can imagine it is a perfect place for Mïrändä to create and find material. Many will argue there are a lot of people around and it can be hard finding space here: there are plenty of parts to retreat in; quieter and more relaxed areas of New York. Nobody can deny the allure and strength of New York – and why its musicians are among the most promising in the world.

Before I come to look at Mïrändä’s rise and style of music; I will stay in New York and why it is somewhere more people should think about. Many musicians I know are heading over to New York and excited to get gigs. It has that intrigue that nowhere else in the world does. Whether you are compelled by the multicultural angles and the mixture of races; the fantastic sites and landmarks available; the bustling streets and the way you can get swept away. It is the music and arts of New York that stands out. You have decades (and centuries) of music that stands the test of time; inventiveness of the modern breed who continue to uphold the proud name and add their name to the history books. It is fantastic watching the modern clan borrow from the past and inject something unique and personal. Mïrändä is a curious writer and, as she progresses in her career; I wonder whether she will remain in New York – relocate somewhere else and start a new life. There is no real reason to depart from New York. The area is vast and opportunity-laden; there are plenty of chances for musicians to get their stuff heard and promoted; all manner of people there to keep the imagination nurtured. To me, it is symbolic of a free and balanced community that does not push people away and continues to support those who live there. Maybe I am being naïve but, for a musician, there is a sense of belonging and connection. You can find like-minded individuals who will share your vision and support your drive. New York has some of the best venues in the world and, as you shift between boroughs; you get a new sensation and take-away. So many artists from the U.K. are either moving to New York or playing there. There is the issue of cost – not that much different to places like London – but there are more chances available. It is a more competitive place to be but, in terms of rewards; it is well worth the risk. I would suggest Mïrändä remain there because, the bigger her career gets; the more relevant and important New York becomes.

I have spoken a lot about areas separate from the music itself. Mïrändä is a modern musician who has the same sort of aspects and ideas as many out there – she transcends the simple and strays away from the commercial. One of the most noticeable aspects of the modern machine is the ‘single campaign’. Artists have distinct visuals for each campaign which means there are some limits to journalists. It is fine to be restricted to a few snaps but, in terms of scope and mobility; I wonder whether more flexibility should be granted. I guess, now, music is about marketable structure and rigid planning. In order to get a single out there and trending; the musician needs to address all angles of promotion and creating a very precise and measured attack. Although there are fewer images available than many artists; one gets an impression of what Mïrändä is about and her style. The music is an important guide – cannot get too hung up about photos – but, with the images you can see here; one gets an impression of a unique soul and alluring talent. That might be because of the area she is based in and how the complexities of New York feed into her blood. I see some slyness and vulnerability in Mïrändä; there is a softness and shyness that mixes with boldness, rush and panache. That is a fantastic and heady brew that means the music has a lot of depth and sustain. Maybe the streets of New York provide the sort of direction many do not have access to. London is a vast landscape but, compared to New York; it is a small fish against a mighty shark. We do not have the same vastness and variety at our feet. Mïrändä is living in a part of the world that has geography like no other. It is impossible to live somewhere like New York and not take something away from the place.

Maybe there is that physical effect and resonance. I feel Mïrändä is someone who takes from her past and present, personally, as she does anything else. You listen to her music and get the impression of a very special and rare soul. Her personality comes to the fore and one feels a real understanding and connection. I know a lot of artists who give their all to the music and pour their personalities out. There are few who have the same openness and revelation as Mïrändä. She provides music that digs deep into the soul and makes the heart skip a beat. Few humans are as striking and stirring as she is. That means the music goes a lot further and remains in the mind for longer. One can say that is a symptom of a New York musician but that, to me, is the result of someone who has grown up a certain way. I can only imagine the kind of music Mïrändä holds dear and was raised on. I can hear a lot of classic Pop and Soul artists in her own sound – the way her voice sounds and the threads she weaves together. One gets impressions of modern New York artists and the most innovative around. I hear so many different ideas and expressions working in her own music. Mïrändä is an innovative mind and someone who holds music dear. She loves to project her personality onto the page but, on GLOW; there is something extra and unexpected. It is hard to put into words but one hears GLOW and so many different ideas working alongside one another. You get blasts from the past and some classic sounds; the urgent pace of the modern streets and what is happening around her – some elements unique to Mïrändä and what she is about. I am always drawn to artists who depart from the predictable and have something special about them.

I shall move onto the song itself in time but, before then; I wanted to investigate artists who have achieved a lot and why they get the respect they do. Dancing Astronaut, The Deli Magazine; Pancakes and Whiskey and DIY Magazine have already supported her music. YouTube stars, including Julien Solomita and Jason Nash, have used her songs in numerous Vlogs – it has been a successful and important time for Mïrändä. Many might say this is nothing special: so many artists get under the radar of big publications and get a level of fame. There are few who get under the skin of such big names so early. It takes a while for most artists to accrue the sort of attention Mïrändä has got in her career. You need to have something engaging and original in your locker to get into the head of any magazine/critic. It is not good enough turning up with something samey and expecting people to be all over you. There are so many artists who still have that approach. It means you get a faction who is unwilling to engage beyond the plodding and commercial. Mïrändä is a musician who knows you need to mix the understandable and familiar with something personal. I hear shades of commercial music in her own sounds – it is not too pressing and precise. It means one can easily bond with her sounds but it is not too chart-bound and depressing. You get fizz and wild imagination; there is a seductive quality and beauty that brews and percolates in every note. It is a captivating concoction that easily translates into music - but it has a special edge. I am always looking out for artists who can perfect this chemistry and sustain it. I will end the review by looking at Mïrändä’s future but, right now, she is on fire and in peak form. There is nobody out in the music world that does the same thing as she does. People are responding to her music and getting behind every offering.

Before I look at GLOW; I want to look at Mïrändä’s soundscapes and how she fuses elements together. There are Electronic strands but Pop ideas and harder slices. I am still finding musicians who repeat what is out there and do not go far beyond the expected. It can be hard departing from the normal and straying from the commercial. Artists that do go beyond the familiar are to be commended. There is something risky about it but, when you listen to the music, it has that additional grace and power. Mïrändä defies genre and is hard to classify. There is Dream-Pop there but, when you look closer; is it easy to label her?! I do not think so. The style she has tailored is her own – going further than most other new artists around. All the elements and ideas she has assimilated into her music hit the senses and compels you to follow her. I have heard few artists who are as passionate and committed to music as Mïrändä. She is a dedicated and hard-working talent who puts her everything into, well…everything. It is humbling hearing a musician who expends that much energy, commitment and love into each song. GLOW is another big step from the stunning and multi-talented songwriter. I wonder where Mïrändä will go from here – in terms of her musicianship and style. She has crafted something that has flexibility and promise. She can take it in other directions and find more room. I wonder whether Mïrändä will assimilate other strands into her music as she moves through the year. Everything about Mïrändä hits the heart and urges you to remain with her. GLOW has been getting a lot of love and affection from people out there. Websites and reviewers are lending their praise: the public is behind it and it seems few are immune to the wonders of the song.

GLOW gets straight down to business and bubbles off the speakers. The electronics and beats crackle and there is a youthful, fulsome dynamic to the song. Although the earliest words are hard to decipher – too breathy and mixed-down against the bold composition – it is the sensation and sigh you get from Mïrändä that connects. There is that allure and sensuality brimming and touching the listener. The beginning of the song is such a physical and sexual thing. You are hooked into the song and compelled to surrender to its lustre. The heroine talks about a realisation and not having a heartbeat – until the hero came along and changed things. One instantly understands where Mïrändä is coming from and where her mind is heading. There is that relatability but, in the way she sings, something unique and personal. Mïrändä is not keen to mimic other sings and create tropes. GLOW sees her explore this new-found love and having her life reinvented. The energy and colours that burst from the speakers get into the heart; the vocal is raw and impassioned. One gets views of the dancefloor and clubs – as the composition gets sterner and a little more sexual – and the heroine’s eyes wide and alive. Blood is rushing to the head and one can get a real sense of what is happening. People are milling around and there is fascinating on the floor. People are hooking up and the attraction of the music swims in the blood. Mïrändä is looking across and finding someone who instantly connects with her. It is a very evocative sentiment that is never crude and uncomplicated: the heroine keeps things back and builds momentum and mood. She cannot find “this glow” and fascination. The composition rises and falls; it echoes and bounces with pride. One can hear the composition bounce and mirror the lyrics. You start to move and connect with the music; caught in the tide and starting to project images. Although Mïrändä has her own style and sound; one can detect elements of modern Pop idols and elements of her voice. One can hear some familiar vocals but Mïrändä manages to fuse so much of herself that it does not dampen the song and make you think of anyone else too readily. The heroine is caught in the moment and curious where it will head. The beats and electronics continue to change course and it is such a physical and unexpected song. The pace and energy never relent and the listener is powerless to refute the pull and prowess of GLOW. I wonder whether the heroine is looking at her past and making the same mistakes – embracing a new relationship and something that could be more positive.

She is going around and around and cannot pull away from the magic. This attraction is strong and it is causing Mïrändä to wonder and imagine. I was thinking about men who have treated her badly and let her down. Maybe this boy is the same and it means the same errors will come in. I was caught between someone who was excited by a fresh challenge and affection but fighting against the temptation to repeat past bonds. That light and glow is hard to fight and is endlessly attractive. The more the song goes on; I was looking at the positive and how this feeling should not be questioned. I have been looking at GLOW from different angles and wondering whether it is about that single night or the start of a longer relationship. To me; there is this new experience that Mïrändä wants to retain and foster. The music pops and one feels involved and connected with the visions. You transpose yourself into the song and follow this flirtation. The cheeks of the heroine are crimson and you can feel the two coming together. There is electricity in the air and the sweat drips from the walls. That does not mean GLOW is overtly sexual and salacious. She talks about attraction and that desire: the song goes deeper and is more emotional than one might expect. By the latter stages; the song gets more playful and the heroine’s voice skips and teases. The composition continues to exert images and possibilities – the heroine dreams of tripping and not feeling the fall. There are so many different sounds and layers in the song – the head always spins and the imagination is working over-time. I wonder whether that ‘trip’ is her falling for the man: perhaps the sensation has, literally, knocked her off the feet and taken its toll. Whatever your impressions of GLOW; it signals a vital talent in the industry making moves few others can dream of. I am curious where Mïrändä will go and what her next move will be. It is hard to ignore the passion and intensity that comes from GLOW. It gets right into the head but has so many layers working away – you will come back and discover something fresh every single time. Kudos to a hungry and stunning artist who is subverting expectations and providing some of the most engaging and thrilling music around. I am in no doubt Mïrändä will ascend to the giddy heights of the mainstream in years to come – adding her own style and able to inspire many other artists when she is there. Make sure you investigate her music and get your ears around GLOW. The New York-based heroine is on the rise right now. It is wonderful seeing a singular artist hit the soul and produce such a fantastic song.

Mïrändä attended NYU Tisch School of the Arts for both Acting and Songwriting and was a 2013/2014 YoungArts winner. She has performed her original material at Lincoln Center, The Kennedy Center and at TD Garden alongside Josh Groban. She has achieved a lot and saw her debut E.P., Empire, featuring on big blogs. Her following is strong but I wonder whether she can go further. Her Twitter numbers are growing but I listen to GLOW and realise there is a whole world of followers out there. I wonder whether there will be more material coming and where Mïrändä heads. A lot of people in the U.K. will want to see her and see her perform live. I hope London is part of her plans later in the year. Right now; Mïrändä is working on the promotion for GLOW and ensuring it gets far and wide. Once the dust has settled and she is thinking of new moves; it will be interesting seeing what that entails and what direction she takes. I think Mïrändä has hit on a very appealing sound and concocted her own world. There are few who have the same reach and nuance as she does. I am excited to think what comes and, the more songs she puts out; the more people will latch onto her. There is a following for her music in New York but I would like to see more people here get behind her. It is still early for Mïrändä and her music: the more time she puts in; the greater the rewards will be. So far, she has done a lot and seen her songs get out to the people. I can only imagine what it is like for a New York-based artist. You only need listen to GLOW and realise what it all means to Mïrändä. She is dedicated and putting her all into music. There is no time to relax and lessen the pace. For that – and because she is a rare and original artist – we should all put our weight behind…

A very special human.   

_______

Follow Mïrändä

Official:

http://www.whoismiranda.com/

Facebook:

https://www.facebook.com/MirandasMusicPage

Instagram:

https://www.instagram.com/cutebbpizza/

Twitter:

https://twitter.com/Mirandas_Music

YouTube:

https://www.youtube.com/channel/UCrColKAFX3BPm5STCJ7r9Fw

SoundCloud:

https://soundcloud.com/musicmiranda

Spotify:

https://open.spotify.com/album/03Y05ovRjUhXKBEDefYnmy

'PURPLE'/GLOW PHOTOS:

Danny Lieberson 

ALL OTHERS:

Lissy Elle