TRACK REVIEW: Kacey Musgraves - Glittery

TRACK REVIEW:

 

 

Kacey Musgraves

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PHOTO CREDIT: Ana Cuba 

Glittery

 

9.3/10

 

 

The track, Glittery, is available from:

https://www.youtube.com/watch?v=OuKqt27A0cs

GENRES:

Country/Country-Pop

ORIGIN:

Texas, U.S.A.

RELEASE DATE:

20th November, 2019

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The Kacey Musgraves Christmas Show is available on Amazon Prime from 29th November, 2019

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THIS review might seem like it is the complete opposite…

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of the one I posted yesterday! When looking at Baxter Dury and his track, Slumlord, I talked about this sense of the unhygienic and seedy; some tension and a strange sense of beauty. It is a potent and intriguing mix that is among his finest work so far. When presented with a Christmas song from Kacey Musgraves, one might predict something schmaltzy and sweet. If the song I am about to review has a sweetness and Christmas scent, the rest of the review takes a wider look at one of music’s most important artists. In fact, when we delve closer into Kacey Musgraves’ personal life and inspiration, she is closer to Baxter Dury than you’d think! I was eager to review Kacey Musgraves because, bit only is it the first time (maybe the last) I get to review an original Christmas song, but I want to discuss an inspiring artist. It is unusual to see a new Christmas song out in the world. I wrote a feature a week or so ago where I asked why artists do not write original Christmas songs and whether we might see a future classic arrive. It is rare I write reviews for live tracks but, as Glittery is not yet available on Spotify or YouTube as a studio recording, I am taking the recording from The Tonight Show Starring Jimmy Fallon. As a lot of artists rely on the standards this time of year – putting their own spin on it -, Musgraves has a new track out. It is not a coincidence that she was on the show to perform that song. On 29th November, she releases an Amazon Prime special, The Kacey Musgraves Christmas Show. The soundtrack version will include Troye Sivan but, as it is fresh and I did not want to wait until then, I am reviewing – one can get the song in its studio setting from Friday (29th). I will move on to non-Christmas matters soon but, before I discuss specials and why we need to see more of them, I should probably explain what you can expect from Musgraves’ special, if you are interested in watching.

The fact a new special from Dolly Parton has received some negativity, should not put off her Country peer. They are different shows and, in the case of Heartstrings, I think it was a bit misjudged. The Kacey Musgraves Christmas Show features appearances from Lana Del Rey, Kendall Jenner; Fred Armien, Troye Sivan; Leon Bridges and more. The album features a duet with Lana Del Rey on I’ll Be Home for Christmas; a cover of Rockin’ Around the Christmas Tree featuring Camila Cabello and a whole host of other treats. This Pitchfork article explains more of what we can expect:

“I can say without a doubt that this project is unlike anything I’ve ever done before,” Musgraves said in a press release. “What started as the small seed of an idea one night over a year ago has turned into something I’m so proud of. Some truly brilliant comedic and musical guests are featured in the show—as well as my own Grandma. My vision was to bring my old Christmas album to life visually and create a modern and fashionable, fresh take on a classic format. It’s a nostalgic, Wes Anderson-inspired reimagining of the holidays. It’s heartfelt, funny, and most of all, real. I can’t wait to finally share.”

01 Let It Snow [ft. James Corden]

02 Countdown — Dialogue

03 Have Yourself a Merry Little Christmas

04 Getting Ready — Dialogue

05 Present Without a Bow [ft. Leon Bridges]

06 Making a List — Dialogue

07 Rockin’ Around the Christmas Tree [ft. Camila Cabello]

08 (Not So) Silent Night [ft. Fred Armisen]

09 Christmas Makes Me Cry

10 Amp It Up, Dan — Dialogue

11 Christmas Fail — Dialogue

12 Mele Kalikimaka [ft. Zooey Deschanel]

13 Cookies — Dialogue

14 Glittery [ft. Troye Sivan]

15 I’ll Be Home Intro — Dialogue

16 I’ll Be Home For Christmas [ft. Lana Del Rey]

17 NANA! — Dialogue

18 Ribbons and Bows [ft. the Radio City Rockettes]”.

I think it is a shame there are not more Christmas specials. Coincidentally, I have also just written a feature about Kate Bush’s Christmas Special of 1979; marking forty years of an underrated T.V. artifact. Whilst some dismiss it as a bit half-baked and un-Christmas-like (as there is only one Christmas track, December Will Be Magic Again), I really love it.

It seems like it is a thing of the past, having a Christmas special show. Maybe it is seen as close to variety: a format that is not as popular as it was. I do like the concept of seasonal specials; big artists performing appropriate songs with others. In the U.K., there are plenty of artists that would be brilliant if they were given their own special. Kacey Musgraves’ unique blend of sounds is perfect for a Christmas special. She is a rising star and with her fourth studio album, Golden Hour, released last year (and gathering enormous reviews), there is no stopping her! As I will explain later, Musgraves is not a traditional Country artist. So many artists new and old are too conservative or they are a bit limited regarding their sound palette. If you are not familiar with Kacey Musgraves, this NME interview from earlier in the year gives some backstory: 

“Musgraves has always had a voracious musical appetite. As a child her parents played her a lot of Neil Young, which she loved just as much as the ’90s pop and R&B her friends were into. She was born on 21 August 1988, a month early – she arrived on the day of her mother’s baby shower, so has apparently always liked a party – in the aptly named town of Golden, Texas. Once known as the sweet potato capital of the state, the crop has dried up in recent years but that hasn’t stopped Golden hosting a Sweet Potato Festival every October. Musgraves played it back in 2012. “My mom is already asking me if I can make it this year,” she says, in a tone that suggests that the Golden Sweet Potato Festival doesn’t have quite the same pull as the main stage at Coachella. Sorry Mrs Musgraves.

It may have been a small town upbringing but Musgraves remembers her early years fondly. “I had a very quote-unquote ‘normal’ childhood,” she says. “We were lower middle class. My parents were small business owners and they’re still together. I have one sister, Kelly. I spent a lot of time outside. I begged my parents for a horse but I never got one. It wasn’t a super luxurious upbringing by any means, but it was happy”.

Fans of childhood dreams coming true will be pleased to know she has now finally got her horse. Meanwhile, Musgraves is self-aware enough to know that there were some parts of life that growing up in a small Texan town didn’t teach her about. “No matter where you grow up you’re kind of a product of your environment until you leave that and get a different perspective,” she says when I ask her if she’d consider parts of her upbringing ‘redneck’. “I was definitely more in that category then. I just hadn’t seen the world yet, ever. I hadn’t been around a lot of different kinds of people. I know it sounds stupid but I just hadn’t. I moved to Austin after high school and of course that’s a huge melting pot. My childhood best guy friend came out to me one day, and that made a big impression on me”.

I will return more to the Christmas theme/show when reviewing and doing the conclusion, but I wanted to break aside and talk about Kacey Musgraves in the mantle of a Country innovator. As I said, a lot of modern Country is quite traditional and commercial. Musgraves bridges the gap between Pop and Country; there are Rock licks and Blues bars. Musgraves’ first few albums avoided the topic of love because, not only is it overdone and common, Country music is synonymous with heartbreak and love songs, perhaps more than any other genre. Whilst her peers were writing about lovelorn days and the unpredictable nature of romance, Musgraves’ pen was scribbling lyrics that would make blush. As this article from The Independent reveals, Musgraves has always been quite a bold songwriter:

“Hers is a unique kind of country music. Until recently, primarily because of those confidence-shattering relationships, Musgraves mostly steered clear of one of the most dominant themes of the genre – love. Instead, with her warm Southern twang and a wit that flits between silly and scathing, she covered topics most of her peers wouldn’t touch with a barge pole – casual sex, marijuana, macho culture, slut-shaming, the stronghold of religion, and queer acceptance among them.

“Make lots of noise, kiss lots of boys, or kiss lots of girls if that’s something you’re into,” she sings over slide guitars and affirming shouts on 2013 breakout single “Follow Your Arrow”. “When the straight and narrow gets a little too straight, roll up a joint… or don’t / Just follow your arrow wherever it points.”

But when it came to writing her superb third record, Golden Hour – which has already featured in a handful of publications’ “album of the year” polls, including this one’s – Musgraves’ life had changed. She had fallen in love – the kind of love that was finally inspiring enough to write about. After meeting her husband, fellow country singer Ruston Kelly, in 2016, Musgraves went from “walking around with a scowl basically every day”, to feeling a sense of peace she hadn’t thought herself capable of.

PHOTO CREDIT: Getty Images 

“When I found myself getting really happy, and my life turning around, I was a little wary,” she says. “I was like, ‘Man, I wonder if I’m gonna be able to write. I’ve never felt like this before.’ And it actually ended up being kind of the opposite for me. Just when I thought I was never gonna find any relationship worth a shit, he came along. I wasn’t looking for it. It changed my world, it made me see the world in a more beautiful way”.

It might seem quite a shift to read those words and consider, now, Musgraves is preparing a Christmas special that will have more than its share of sugar, sweetness and, yes, the saccharine. She is an artist who cannot be defined and limited; this is quite a rare gift in an age where so many genres are suffering with over-familiarity and soundalike artists. Maybe Pop is the worst offender, but Country’s core is not as diverse as it could be (I shall explain more later). I will talk about Musgraves’ views regarding gender and diversity in Country but, as a role model and performer, she is someone we should be looking towards. In interviews, Musgraves is fascinating and revealing. Musgraves is determined to speak the truth and, whilst she does sing about her flaws and heart, she wants her audience to relate to her; she refuses to bend the truth for commercial gain or any other reason. In fact, Musgraves spoke about determination and honesty in an interview with Marie Claire this year:    

 “Maybe, but for years that stubbornness was a vital asset as Musgraves navigated the music industry, helping her shake off pressures to modify her message and intention, buoying her as she charted a distinctive, daring path. Musgraves abided no guff, especially from folks who advised her against speaking her mind counter to the more rigid, traditional country music worldview. “From the get-go, I wasn’t going to sign a record deal unless I could completely do it on my terms,” she recalls. “And, yeah, there’ve been moments when I’ve been asked to change lyrics or to do things I wasn’t into. But I’m not going to bend in hopes that it’s going to reach more people or whatever. It’s just not worth it.”

PHOTO CREDIT: Charles Sykes/Invision/AP 

Musgraves’s refusal to compromise her authenticity and vision is one reason her reach extends well beyond country music, netting a contract with IMG Models and a guest spot on RuPaul’s Drag Race. “I’ve always felt my best when I basically look like a drag queen,” she says with a laugh. “I love the glitter and the hairspray and the kitsch and the loudness of it all. I also really love when anyone just fucking puts themselves out there.” For her, defiant audacity and country camp came easy compared to exposing her tender underbelly—“I fixate on my flaws. I can be really critical. I think that’s the Virgo in my personality”—but it’s growth she believes these times require. “People are craving truth; they’re craving something real. People are tired of having a corporatized version of something shoved in their face”.

Kacey Musgraves’ Christmas special and its warmth is, perhaps, a natural extension of Golden Hour. This album is a lot more inward-looking and romantic than her other records. This new tenderness is still laced with plenty of kick, fun and guts. I think it is hard for any artist to change path and embrace something new when they have a record label and, invariably, they will want them to repeat what came before…only better. Kacey Musgraves explained her new direction when she spoke with The Guardian in April:

“Golden Hour represents a change in her writing towards greater space and tenderness. “Instead of focusing on turning a phrase, or trying to out-clever myself, this album was more about feeling my way through than thinking my way through.”

There’s a subtle movement in songwriting now, expressed by Musgraves and Sharon Van Etten, and even Taylor Swift: writing from a place of happiness is more creative than mining the classic bad guy motif.

“Creative people commonly have the misconception that they need to be in some kind of a suffering state to create,” Musgraves says. “And that can be dangerous. I’ve definitely found myself staying in unhealthy situations longer than I should have because I was getting something out of it. I was not aware I could find the same level of inspiration when I’m happy. But inspiration is always floating around, accessible to everyone”.

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 PHOTO CREDIT: Thomas Whiteside

Okay. I am key to come back to Christmas and Glittery because, let’s be fair, that’s the reason I am writing this review at all! I think Musgraves’ Christmas special and constant sense of movement is natural from an artist who is experimental and original. Not only has Musgraves told how she has seen U.F.O.s – I can’t remember which interview that was, but it is true -, but she has dropped acid and has a fascination with the cosmos. One cannot pin Musgraves down regarding genre and sound because, as you can hear through Golden Hour, there is so much happening! It is hard to label it as a ‘Country’ or ‘Pop’ album because of the blends she concocts. To me, she is a much more promising and wide-ranging artist because she does not aim her music at a demographic or just women. So many big Pop artists have forgotten that the genre is universal - and you need listeners of all ages and tastes to be able to relate and connect. I listen to music from Ariana Grande and Taylor Swift and it does seem directed at girls and young women; the compositions are not especially deep or interesting. Musgraves is different and pens music that can be appreciated and liked by anyone. Musgraves’ experimentation has been picked up by a few interviewers. When NME featured her this year, sonic and psychedelic experimentation were explored:

“If you’ve noticed while listening to ‘Golden Hour’ that Musgraves’ increasingly psychedelic sonic experimentation is also intertwined with a blissful sense of awe and wonder at the universe, it probably won’t surprise you to learn that – like artists from The Beatles to The Flaming Lips to Cary Grant before her – the album was heavily influenced by dropping acid. Both ‘Slow Burn’ and ‘Mother’ are tracks that started life as ideas jotted down during a trip, and the whole record seems coloured by the warm glow of LSD. It’s a way of working that Musgraves is happy to endorse. “Any time I can have the ability to step outside of myself and the human ego and be reminded of my place in the universe, that’s a very helpful tool for me and really for anybody, I feel,” she says. “This album was inspired by that opening of mind and opening of heart.”

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PHOTO CREDIT: Michael Nagle for The Los Angeles Times 

It was also inspired by an even more elusive and intoxicating drug: love. Back when she first started writing the record in Nashville, Musgraves went along to a songwriters’ showcase at the Bluebird Cafe to see a friend and by chance caught a performance by a singer-songwriter named Ruston Kelly. The pair got to talking and a few months later he went over to her house to write a song. You can see where this is going. They married in October 2017.

In lieu of an actual collaboration, the vocoder on ‘Oh, What A World’ was the next best thing. “I wanted to explore what it would sound like if Daft Punk and my favourite parts of country music came together,” says Musgraves. “I loved the notion of traditional elements meeting futuristic elements. I wanted to combine pedal steel and banjo with things that on paper don’t make sense with them. It was all about balance, because you don’t want it to sound like a fucking quilt that doesn’t make sense. It was fun to figure that out”.

There is so much discussion and debate regarding Country music and whether there is equality. I have written about sexism in Country and, every year, the facts and figures show women are overlooked and provided fewer opportunities than men. Some artists specifically campaign for gender inequality, but Kacey Musgraves is someone who does not want people to focus on gender – should it matter what sex an artist is when we could be talking about sonic and racial diversity. One can see her point, yet I think it is important to discuss gender in addition to sexuality and race. Musgraves is a sonic innovator and someone who, rightly, highlights how we need greater diversity in terms of the sounds of Country and Pop. It is vital that we do not fixate or give inordinate time to gender alone when there is inequality in so many different areas. Regardless, I hope 2020 brings about great improvement; artists such as Kacey Musgraves are pushing music forward and forcing people to open their eyes. It is a sticky issue talking about gender because, yes, women need to be seen as equal and heard but, when we do focus on gender, does that define artists? Is defining artists by gender naturally problematic?

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 PHOTO CREDIT: Erik Madigan Heck for The New York Times

I am on the side of tackling sexism as much as possible, but Musgraves had a different angle when she spoke with The Independent to promote Golden Hour:  

 “This soap box fatigue might explain Musgraves’ reaction to my next question. A recent Elle article, “The women of Nashville’s music scene are calling Time’s Up”, revealed that female artists make up just 10.4 per cent of country radio playlists – a figure that has actually worsened over the past few years. Musgraves herself contributed to the article, recalling a long car journey where she kept track of the songs played on country radio – “It was, not shockingly, so offensive. Two females among 31 males” – but when I bring it up, she rolls her eyes. “The whole gender discussion in country music is beyond tiresome to me.”

It is? “Yes, we can look at gender inequality, but I’m over here going, ‘Wait, there’s also so many other factors of inequality that are happening right now that no one’s talking about.’ What about song matter inequality? Sonic inequality? Everything sounds the same to a certain extent, and it’s very hard for something that sounds any different to poke through.

“Where are country artists of colour?” she continues. “Where are the country artists that represents the LGBT+ community from a first-person perspective? Yeah, OK, gender’s one of those things, but I also think it’s ludicrous that gender is even mentioned when it comes to describing my music. Why can’t I just be a musician, or an artist, or a singer-songwriter? No, it’s always ‘female musician’, ‘female singer-songwriter’, and it’s interesting because they just don’t do that for men. It’s never ‘Chris Stapleton, male songwriter’, ‘Chris Stapleton, male artist’. Why is there a difference there? I can’t really figure it out”.

I have covered a lot when it comes to Kacey Musgraves and her music. It is about time I review Glittery, as it is a song many people were not expecting. I think it is interesting it has been showcased live before a studio version. Normally, we would get Twitter teasers and build up before a single is released. Because the track forms part of Kacey Musgraves’ Christmas special, it got its airing on U.S. T.V. and sees Musgraves sing solo – I am not sure how the song will translate on the soundtrack/show, but it will not be radically different.     

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PHOTO CREDIT: Mark Seliger

With a band backing her, Glittery begins with gentleness and tenderness. There is a nicely rhythmic and flavoursome percussion that gives the song patter, movement and fluidity without being too forceful or intrusive. Keys and guitars accompany Musgrave in a performance that is sublime. I am not usually taken by Christmas songs and, when it comes to my favourites, they tend to be the classics – very few newer entries spike my mind. In terms of lyrics, Musgrave mixes in traditional festive images with something akin to her Golden Hour work. With her voice soothing, tremulous and passionate, one is instantly moved by the song and calmed. Maybe a studio version – or whatever is planned – will have more embellishment (and Troye Sivan is in the mix), but I like the sound of Musgrave singing alone. The composition has twinkle, glitter and light as it projects images of light snow and a dark evening. Musgrave, as the heroine, takes us away from the usual Christmas scenes of family togetherness and nativity and uses the image of a Christmas tree and glitter as metaphor. In some ways, Glittery is more of a love song than one concerning Christmas. “You shake me up and turn me upside down/Just like a snow globe” are the opening qwords. This image of Musgrave being swept off her feet and affected in this way is romantic, and you get the added beauty of the snow globe image. It is a nice comparison for a burning love and, as she says, this person has a strange effect on her; making her shiver from her head to toe – whether she is referring to her husband or coming at it from a fictional angle, I am not sure (one assumes it is the former). Not only is there the strain of Country and Pop, but I get little touches of Soul; some elements of classic girl groups of the 1950s and 1960s. Some might find some of the most effusive and love-struck images a little too much – “And I love the way you decorate my heart” -, but, as mentioned in this piece, Musgraves is adopting a more personal approach to music and looking at her life in a very positive way. 

 PHOTO CREDIT: Eric Ray Davidson

“You light me up like a Christmas tree” and “Every single kiss is a gift to me” takes my mind to a Christmas scene where lovers are entwined. We have heard Christmas song where an artist claims their lover is a gift; the only one they want – Mariah Carey, for starters -, but Musgraves puts her own stamp on the form. There is a bit of spice alongside the sweetness. When she sings “And when you take your time/You turn me on and make my life glow”, there is a positive coo in the voice. In the video (live performance), Musgrave closes her eyes and transports herself to home. There is this bristling edge of sexuality and physicality alongside classic love and the innocence of Christmas that gives Glittery body as well as heart. This image, too, of the lovers warming themselves up as it snows outside, to me, has a cheeky wink to it. Many might picture the two all cosy by a fire, but there is also that sexual component too - maybe it is just me! The band provide a suitably festive and evocative background; sprinkling and dusting the song as to allow Musgrave’s voice to stand at the front and resonate. Musgraves is a hugely skilled singer and there is a brilliant blend of Country twang and something completely seductive and soulful. Her commitment is true, and you can feel her voice swoon, warm and sway as she lets us into this idyllic Christmas scene. “Winter is so gray/It’s like the ice is here to stay”, again, has traditional tones but does not rely on the trope of snow on the ground; rather, we have this slightly more bitter and less romantic outdoor scene as, inside, the sweethearts are lighting the fire – indeed, Musgrave’s suitor melts the ice away when he looks at her. The song’s final moments provide the biggest rush and tenderness: “And I love the way you decorate my heart/Oh, so glittery/And I love the way you decorate my heart” sounds more powerful and sweet when Musgraves sings it for a final time. There is a lovely guitar twang and, with Musgrave at her most beautiful and enraptured, one cannot help but shiver a bit and be moved by the beauty. Another reason why I wanted to review the song in its live setting is because you get to hear Musgrave naked, without any effects or production layers. I am not sure whether the song will change drastically, but the Jimmy Fallon performance is stunning, and it will be hard to see how it can be improved upon. Even if you are not a fan of Christmas music (or, indeed, Christmas!), you need to listen to Glittery as it is a perfect match of the traditional love-based and Christmassy. Rather than have another overwrought and endlessly cherry Christmas song, here is a track with emotion, stillness and grace that, I feel, will appeal to a very wide audience. I was not sure how Musgraves would tackle a Christmas number but, having heard Glittery, she succeeds with a heartfelt and image-rich song, performed beautifully. Credit to her band for their performance and, come 29th November, you will get to hear the song performed as part of The Kacey Musgraves Christmas Show – it will be interesting to see whether extra verses are added and whether Troye Sivan adds to the song or removes some of its purity.

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Even though Golden Hour was released last year, 2019 has been pretty busy for Kacey Musgraves. I am not sure whether Musgraves plans on coming to the U.K. but, if you can see her play live next year, then make sure you do. I think her music is not played enough in this country, which is a real shame because Golden Hour was one of last year’s best albums. Musgraves is so much more interesting than a lot of mainstream artists who seem so similar; like the record label is telling them what to say and, when it comes down to it, they hardly stick in the mind. Musgraves is a terrific artist and I cannot wait to see what she comes up with next year. Get on Amazon Prime on 29th November to see The Kacey Musgraves Christmas Show and a host of big names join her for a pre-festive singalong. I do wonder why there aren’t that many Christmas specials, as they are great fun and you get to see artists performing together who would not normally share the same stage! Among the few original Christmas songs that have arrived over the past couple of years, Glittery is one of the strongest. It features a stirring and beautiful vocal from Musgraves and, whilst I have reviewed a live version, the ‘final’ version is going to be very similar. It is a great song and has all the ingredients one could want from a Christmas track: a sweet core and togetherness; a mix of the wintry and warm and, topping it all off, a message of positivity. I have swerved reviewing Christmas tracks until now, but I think we are close enough that we can start listening to them. Also, Glittery is part of a wider special show and allows me to talk about Kacey Musgraves. She is a wonderful artist, and I will watch her progress in 2020 very closely. With Glittery, Kacey Musgraves (a little early) has got us…

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 PHOTO CREDIT: Kelly Christine Sutton

IN the Christmas spirit.

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Follow Kacey Musgraves

TRACK REVIEW: Baxter Dury - Slumlord

TRACK REVIEW:

 

 

Baxter Dury

Slumlord

 

9.4/10

 

The track, Slumlord, is available from:

https://www.youtube.com/watch?v=KWbVIv7DrU8

GENRES:

New Wave/Alternative Pop

ORIGIN:

London, U.K.

RELEASE DATE:

19th November, 2019

LABELS:

2020 LE LABEL – (PIAS)/Heavenly Records

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 THIS time around…

I am featuring an artist that I have been meaning to cover in some way for a long time. I know I say that about a lot of artists, but I think Baxter Dury is one of the most interesting songwriters around. I want to cover a few topics in this review but, before I do, I want to address the fact that, obviously, here is the song of the late Ian Dury. Ian Dury is one of these songwriters that still sounds incredible today. I will touch on this more when I talk about Baxter Dury but, in a sea of artists where very few have a striking lyrical and vocal style, Ian Dury was a marvel. I love the fact he had so much wit and was not a conventional songwriter. His music with The Blockheads is constantly inspiring and there is nobody around like him. That was true until Baxter Dury released his debut album, Len Parrot's Memorial Lift, in 2002. I think it can be hard standing on your own if you are the child of a famous artist. People will always compare, and they will expect you to do what your mum or dad did. Ian Dury was an original and he left us with some truly brilliant music. Baxter Dury does not have a shadow, but one can easily see comparisons between him and his dad. The vocal sound is quite similar, and the way Baxter Dury can stretch language and pen these odd-yet-relatable songs is a trademark of his old man. Baxter Dury definitely has his own style and voice, but I have heard so many people compare him to Ian Dury without actually listening to the music. I wanted to bring this subject up because, inevitably, those with well-known musician parents always have to prove themselves in a sense; you cannot get away with people comparing and trying to draw links.

I think Baxter Dury is in a great position because he has that incredible D.N.A. Rather than come onto the scene as another boring and predictable songwriter, he approaches songs from this very unexpected and wonderful space; able to write songs like nobody else. Ian Dury was a huge influence on his son, and I can only imagine the Dury household would have been filled with laughter, incredible music and creativity. A lot of artists grow up around music and art, but Baxter Dury looked up this man who was, at one point, at the cutting edge; an artist who compelled and seduced like nobody else. It can be daunting going into music with the Dury name, as many might expect a repeat of Ian Dury and the Blockheads. Instead, Dury has taken strands and little bits and pieces from his dad, yet he has his own angles and perspective. I will dedicate the rest of this review purely to the younger Dury, but if you have not heard music by Ian Dury, do take a listen because it is sensational. So refreshing, even in the 1970s, to hear a singer-songwriter who was that original. Listen to the Dury’s debut album, New Boots and Panties!!, of 1977 as it is a work of genius. The Blockheads are still going but, since their leader died in 2000, it has not quite been the same. Some might say having a musician father is an unfair advantage, but Baxter Dury, as I said, will always be compared and sort of has to step out on his own terms. I shall leave this point alone – lest I ramble too much -, but I am glad there is new Baxter Dury music out. His current album, Prince of Tears, was released in 2017 and was one of my favourites of the year. This year has been a great one for music, yet I have been hankering for a certain type of song; music that makes you smile and provokes the imagination – here comes Baxter Dury!

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 PHOTO CREDIT: Tom Beard

I will bring in a couple of interview samples later in this review, but I wanted to talk about Baxter Dury’s lyrical and vocal style. Like Ian Dury, there is a distinct accent and personality he gives to music. Baxter Dury uses words in a way I have not heard in anyone else. In a way, he is like an artist painting something quite abstract. Listen to songs on Prince of Tears, and one gets all these wonderful visions and phrases. Miami is a key example from that album of what Dury can do. He doesn’t so much as sing as narrate the track. In many ways, Dury is almost an actor who orates. I do think a lot of songs can get lost or lose their edge because the composition is too crowded or the vocal is too rushed and big. Like a caramel-toned audiobook, Baxter Dury tells these stories and allows the words to breathe and explore. His deep and commanding voice holds so much nuance and character. One listens to his songs and you are engrossed in these strange scenes and wonderful dreams. Baxter Dury has released music videos, but I feel the traditional formats do not really do justice to his songs. His music is so vivid and imaginative, I wonder whether he will produce a sort of mini-film or bring his music to life in another way. His tracks are so interesting and different, I feel they could translate to the small screen or one could watch a film of them. That might be going too far; what I mean is that one listens to a Baxter Dury song and you are carried off and explore the tracks in a way you wouldn’t with any other artist. I do think there are too many artists who write cliché lines and lack necessary interest. One comes back to Baxter Dury’s music because it is unusual and fresh. His voice alone carries so much wonder, one is helpless to resist it.

 IN THIS PHOTO: B.E.D.

Maybe the more talk-singing sound is not to everyone’s taste; I feel it perfect. On Prince of Tears, artists like Rose Elinor Dougall and Madelaine Hart provided backing vocals that added different emotions and a nice balance. One cannot envisage Baxter Dury spending dedicated hours writing music and struggling over his craft. There is this feeling of flow; a man who has this incredible imagination and just sort of lets his mind take him where it needs to go. The songs have this stream-of-consciousness vibe that makes them so appealing and alluring. I want to bring in an interview he gave fairly recently, where he was discussing his role in B.E.D. - http://heavenlyrecordings.com/artist/b-e-d/ - Etienne De Crécy and Delilah Holiday perform alongside him. Whereas Dury’s solo work is quite confessional, there is a beauty and sense of emotion provided by his cohorts that takes his craft to another level. In the interview, Dury was asked about his process:

“Do you have a notebook full of writing to go from?

No – I never write anything down. Maybe the odd bits and bobs but I’m much better at instantaneous words – I find it better that way, I find it more interesting. Because if you start thinking about it too much, trying to rhyme interesting words with other interesting words, when you start becoming this person that you think is wordy, and you construct stories based on the words you think you know. And you can really sense stories orientated by words, y’know, its awful. You start writing songs like you’re writing a James May novel, you sound like James May, fucking awful.

So I find this more beat poetry thing sometimes works, though sometimes it doesn’t. But I don’t know where it comes out of.

You just do it straight off the bat?

Quite a lot of the time yeah. I can just wing em out. I don’t know where they come from, it’s pretty weird.

Because of the characters you play in your songs do people have certain assumptions when they meet you?

I think people think you are a dark sorcerer with bags of opium but unfortunately I’m not. You create a character don’t you? I’m opium Rasputin meets – I don’t know. I’m not that but its good fun to pretend to be that for that time. Maybe people are let down by how normal I am”.

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I am going to get to my review soon but, as I like to do with these reviews, I approach an artist from different angles and explore more than the song itself. I think it is important to unwrap and dissect an artist, because they are as important as the music. One can only get a certain sense of an artist from traditional reviews. I would not suggest everyone pen a long review for every artist, but I am interested getting beneath the skin and approaching music from a rather forensic stance. Maybe Baxter Dury would balk at a slightly wanky approach to reviews, but the fact that Dury is so grounded and normal is another reason why he is so interesting. So many artists are either bland or they have this huge sense of celebrity that means you can never really understand them and or connect. I think the best songwriters are the ones who can stand out from the pack, fly under the radar a bit and make you feel connected. I have not heard too many recorded interviews with Dury but, when he is on the radio, he has this witty and interesting voice that hooks you. He is a normal London-dwelling bloke and there are no airs and graces.  I am not a fan of artists who work in soundbites or seem to read from a script when they are interviewed. Baxter Dury is instantly accessible and someone you naturally fall for. I wanted to bring in an interview that gives you a glimpse into Dury’s world and, as I was mentioning his father earlier, there are some interesting revelations regarding his young life: 

“Baxter lives with his 16-year-old son, Kosmo, who he says is musical (“more so than any of us”) by osmosis. Baxter's own upbringing here was bohemian, though he tries to make things less chaotic as a parent himself. The night before, Baxter deejayed in Paris – a heavy night by the sounds of it. He can’t really mix himself, he says, so he “called up a mate” to do the honours. At the tail-end of Paris Fashion Week, he says the club was “full of cunts” but that he had a good time nonetheless, consolidated by the overly generous fee. Contrary to his DJ pal’s immaculate electro instincts, he dropped “Another Brick In The Wall” by Pink Floyd and packed the dancefloor. “The place went fucking nuts,” he grins.

PHOTO CREDIT: Jacek Poremba 

Things must have got weird when the big hits by your dad’s band started rolling in?

Weird? No. It's not really weird to me because I expected the weird shit to happen. The only thing that was weird with dad was lifestyle. Around here's really posh actually, but Hammersmith itself – the core of it – is really tough. You've got two rivers: this has really posh energy with people rowing and jogging and doing posh things, and then the street parallel to this is a deeply tough area, and all sorts of scrapes and situations go on there all the time. They oppose each other in a way. This bit's immune to that, and that bit's immune to this. [Points at yacht sailing down the river]. These are the people who are immune to all of it. That's 20 million quid worth of boat there. Mad innit?

It must be nice living here?

I fucking love it. I mean I was a bit worried about moving back in because it was so chaotic when I was a kid. It wasn't easy living here. It was really mental. I mean it was great, but I've done that, and I didn't want my son to be brought up like that.

Did you have parties with Vanessa Redgrave swinging from the chandeliers?

There weren't famous people. Dad just lived a certain way. There were amazing times and not amazing times. I had to live on the fucking chaise longue in the front room and a drug dealer friend lived there [points] and he died. And I was in hospital...

So back to B.E.D. I know quite a bit about you and Étienne. Who’s Delilah Holliday?

She's well London. She lives on the 18th floor of a north London council estate. A friend of mine introduced me to her because we were looking for a singer. And she rolled up with her sister – because we bought her and her sister a Eurostar ticket to Paris – and they had three days in Paris. They were quite a breath of fresh air”.

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 PHOTO CREDIT: Tom Beard

One aspect of Baxter Dury’s work is its somewhat personal and solitary nature. He lives with his son – although the interviews I quoted from are from last year, so I am not sure whether circumstances have changed -, and one gets the feeling that sense of calm and alone-time is beneficial when it comes to producing great work. Baxter Dury is not anti-social, but it is hard to collaborate with others if you have been used to working alone. Although he had another people appear on Prince of Tears, the voice at the front is that of Dury. When he started up B.E.D., there was that problem of how does one adapt to the new arrangement; writing in a different style that relies more on the collective voice than the individual? I write all my articles alone, so would find it strange mixing anyone else into the fold or having to change my process. I actually think the stuff he performed with B.E.D. has gone into his latest solo single; Dury has definitely added some new elements of learned new things by working alongside French Dance music pioneer Etienne De Crécy and Delilah Holiday of London punks Skinny Girl Diet. In an interview with The Skinny, Dury expressed his views regarding collaboration:

“Though Dury downplays the work that went into the new album, he is vocal about the challenges that arose from the collaborative process. "It was good doing the album. I’m quite bossy, but whether I really compromised that much I’m not sure.

"It’s been a little bit tense afterwards, because everyone has an agenda and a perspective. That was quite strange. There were different views of what was going on, I think that’s probably what’s destabilised bands for centuries, and I’ve never known that experience because I’ve always been on my own and had the final say. So it was quite interesting really, having to be responsible for other people. I wouldn’t say it was easy, actually. It made me think twice about doing it again."

I am not sure what the future of B.E.D. is – whether there are albums and tours in their future -, but the trio picked up some great reviews for their debut album. Before moving on, I wanted to revisit the modesty and down-to-earth nature of Baxter Dury. I think it is hard to have your own career when so many people – myself included – bring up his dad and sort of instantly compare him. Although Ian Dury might not have been the perfect dad, I think there is common D.N.A. that makes Baxter Dury truly outstanding. I am surprised he is not bigger than he is because, as we know, albums like Prince of Tears fared really well. In fact, when he spoke with The Skinny, he was questioned about the response to that album:

Dury seems sceptical of such flattery. "I made [Prince of Tears] without knowing how successful the album would be. Especially with my own albums, you know, quality control is always there… maybe there’s an attention on me now, so… I think you should always make good things. Maybe you just progressively do until you’re bad again! I think it comes in cycles, doesn’t it?

"You think you’re on top of your game, then you start wearing bad clothes and making terrible choices. I don’t think I’m quite there, but I’m probably quite close. You have to have enough success to alleviate your perspective, that’s what happens, doesn’t it? When you start wearing white plimsoles, your perspective’s been robbed somehow… it happens to every single one of them".

I have probably rattled on enough about Baxter Dury as an artist, but I wanted to highlight a few different sides and try and explore him more. His new cut, Slumlord, features a video that is quite grotty but oddly elegant. There is romantic choreography and a sense of theatre but, around the performers, there is something squalid and decaying. It is a perfect representation of a song that mixes together lights and darks; Dury in the centre of this song that blends nightmares and dreams. It is another typically trippy and intelligent track from one of the best songwriters in this country. I do hope Dury gets a lot more love going forward, as he is a breath of fresh air against the monotonous and forgettable Pop core. 

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There is a great combination of the funky and cinematic on Slumlord. The video starts with Dury, back to camera, taking a slash as we pan into this wide space where there are mattresses with women lying on them; Dury licks his lips as we see a light swing from one side of the scene to the other. I am not sure how many other reviews have come in for this track but, when you listen to the opening notes, there are elements of Disco and Dance. One can feel a bit of Chic and Nile Rodgers; some of the work Rodgers did with David Bowie on the latter’s 1983 album, Let’s Dance. There is a strut and catchiness that gets the song off to a flyer! I think the opening shot of Dury taking a wee is clever because, I think, the song was inspired by a real-life experience of a tap dripping – although I cannot recall exactly what that was -, so we have Dury reliving himself. With the backing vocals coming in first, Dury is pondering and strutting in the darkness as his erstwhile mates sing about taps dripping, “Sleeping in the daylight”; this vision of someone (maybe Dury) leaning out of windows. The fact Dury does not instantly come into the song builds this nice suspense. I get visions of tower-blocks and people in the early hours wandering around. The video gives us a glimpse into a flat that is bare and a bit scuzzy; Dury is this suited landlord figure that has a salacious grin and this odd charm. I think Dury’s voice is more energised and alive than it was on a lot of Prince of Tear’s tracks. Maybe matching the swagger of the composition, Dury is more animated than he has been for a while. There are few artists laying down something as funky as Baxter Dury at the moment – maybe Liverpool’s All We Are and their single, L Is for Lose, is the nearest example. Baxter’s voodoo groove is as captivating as it is unsettled. As one would expect, the man’s mastery for wordplay has not dimmed one iota. With “Charm dripping like fresh honey” the Prince of Tears/the short riff lover-boy is the Milky Bar Kid.

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In his “soiled trousers”, and with cheekbones “like graveyards in the sun”, one is treated to this gangster’s kiss of eye-pooping images; this slum landlord with a glint in his eyes hikes up his “Murder shoes” and surveys his kingdom. I am not sure whether Baxter’s protagonist has murder on his mind, but one can feel a vibe of The Shining or a horror film where an eccentric character is sizing things up. In fact, I wonder whether there has been a horror flick where we have this rather cool-cum-grimy landlord who keeps this space that has a strange tang with an oddly sexy air. I also like how the chorus swings in between verses, as it offers a nice vocal shift and gives the song symmetry. If there were several verses laced together, it might be a bit heavy or samey. The chorus picks up new relevance and strength. I look for the political in everything, given the times in which we live. Maybe there is a nod to a certain austerity and struggle we are seeing in this country or, maybe, the central figure is a work of fantasy. Whatever the reality, Baxter Dury has crafted one of his most compelling characters yet. He warns people – nobody specific is charged – that, if they’ve got nownt to say, then don’t say it. He will shout them down “in a slumlord way”, and, if you watch the video alongside the song, one sees all sorts of scenes. Dury dances and has toilet roll draped on him; there are female figures dancing in their bras and this clash of the romantic and odd. I mentioned earlier how Dury’s songs provoke cinematic exposure and, on Slumlord, there is potential for it to extend into something more. The video has this fever-dream quality, and one is helpless to refute the power of the song. One kneels at the altar of Dury’s anti-hero as he struts like Mick Jagger, throws the glance of a fighter and gives us a cheeky little look now and then. “Shake it down” is a sort of mantra that take the song to its close; I am not sure what the meaning behind those words is but, when it comes to Baxter Dury’s world, one doesn’t need to. His words are often oblique and seemingly scattershot, but there is actually a lot of plot and reality. When listening to the song the first time around, I started to imagine – without relying on the visions – the character that, actually, looks very similar to how Dury looks in the video. One of the curses, I guess, with an artist who is as visually arresting and fantastical as Baxter Dury is the fact the videos might give away too much or too little – guiding the imagination too much, maybe? I love the video for Slumlord, and the song is one of the best he has created. An album is on its way next year – more on that later -, but if it matches the brilliance of Slumlord, it will be an absolute belter! One would think few golden songs are going to arrive between now and next year: Baxter Dury’s latest song proves otherwise!

I will wrap things up in a bit. Prince of Tears was a great success, and I think Baxter Dury was rather chuffed by the big acclaim it received – even if songwriters are not supposed to say so! It goes to show that critics respond to a songwriter that does things different. Dury’s songs are inventive and often wild, but one never struggles to understand what he is putting down. Such is the poetry and beauty of his words, you often come back for more. Backed by incredible backing vocals and compositions that are minimal yet have so much going on, I think there will be new appetite for his music next year. That is just as well because, on 20th March, we will receive Dury’s sixth studio album. Titled The Night Chancers, it sounds like it be another golden disc. Brooklyn Vegan explain more:

“Baxter Dury will be back with his sixth studio album, The Night Chancers, on March 20 via Heavenly. He made the album with many of the same people who appeared on 2017’s great Prince of Tears, including Madeline Heart and Rose Elinor Dougall, plus Delilah Holliday who he collaborated with on the B.E.D. record. But it also features new songwriting collaborator Shaun Paterson who helps Baxter bring new sounds into his palette of sounds. “Musically I’ve pushed on,” says Dury. “I had a formula for the previous records but now that’s done now. Everything was leading up to the full sound I had on Prince Of Tears, so I don’t need to do another one of those. I’ve done something different, something new, with this one and it’s been fun – although the orchestra was fucking expensive!”

Lyrically, he’s still telling seedy tales of sad and desperate people, but the world of The Night Chancers is set in the wee hours when most people are asleep and those who aren’t are alone with their thoughts. “It’s meant to be a bit Kubrick-y, a psychological journey through the maze bit in The Shining,” Baxter says. “So they’re not all confessional, it’s more of a feeling projected into a filmic narrative. On some of the tracks different characters appear.” The first single is “Slumlord,” which might owe just a little to David Bowie’s “Lets Dance,” and features Dury’s signature thick-accented London delivery, vivid lyrical imagery (“Shiny cheekbones like graveyards in the sun”) and creative swearing”.

If Prince of Tears had a sense of the daytime and light, The Night Chancers is set in a darker time; a period where there is stillness, but anything can happen. I like the fact a songwriter such as Baxter Dury can come up with these concepts where different characters roam. I cannot wait to hear the rest of the album but, until then, we have Slumlord: a brilliant opening salvo that shows there are few songwriters as memorable and interesting as Baxter Dury. Let’s leave things there but, going forward, keep your eyes open for that upcoming album and throw Dury some love on social media. Whereas a lot of artists are swathed in personnel and have this fake aura of accessibility, Baxter Dury is a stand-up chap who refreshingly honest and warm. If you go walking, in fact, you might just…

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SEE the man himself!

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Follow Baxter Dury

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TRACK REVIEW: Moses Sumney - Virile

TRACK REVIEW:

 

 

Moses Sumney

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PHOTO CREDIT: Laura McCluskey 

Virile

 

9.3/10

 

 

The track, Virile, is available from:

https://www.youtube.com/watch?v=-Cq8zRq0G9I

GENRES:

Electro-Soul/Folk

ORIGIN:

California, U.S.A.

RELEASE DATE:

14th November, 2019

LABEL:

Jagjaguwar

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The album, græ, is available from 15th May, 2020. Pre-order here:

https://www.secretlystore.com/grae-moses-sumney

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WHILST many are looking at this year and the…

 PHOTO CREDIT: Elizabeth Weinberg for The New York Times

amazing music that has arrived, I am looking forward to the artists who will define 2020. Not only has Moses Sumney enjoyed a career that has seen him working alongside Beck and Solange, but he has also toured with James Blake. Sumney is also looking to the New Year and his album, græ. There is speculation as to who will be releasing material next year, and there are a few artists I would like to see bring out albums. With momentum behind him, there are a lot of people looking forward to Moses Sumney and his next move. Aromanticism was released in 2017 and gained a lot of positive reviews from critics. I will discuss that album in a minute but, as we look to see what next year will provide in terms of music, Sumney is preparing his second album. Here, we learn about græ and what to expect:

“Moses Sumney evades definition as an act of duty: technicolor videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Week from a small town in North Carolina; seemingly infinite collaborators, but only one staggering voice. A young life spent betwixt Southern California and Accra, Ghana — not so much rootless as an epyphite, an air plant. The scale is cinematic but the moves are precise deeds of art and stewardship. Sumney’s new, generous album, græ, is an assertion that the undefinable still exists and dwelling in it is an act of resistance.

There’s probably a biblical analogy to be made about a person who just happens to be named Moses, who flees the binary, splits a massive body into two pieces, and leads us through the in-between — holy and wholly rebellious. By breaking up græ into two multifaceted, dynamic pieces, Sumney is quite literally creating a "grey" in-between space for listeners to absorb and consider the art. Not strictly singles, not strictly albums, never altogether songs or spoken word segments on their own. It's neither here nor there. Neither/Nor, if you will”.

The album is not out until May, so we have a bit of a wait! Regardless, many are already excited to see what Sumney can produce after such a stunning and confident debut. I think one of the reasons an album like Aromanticism resonated is because of its unconventional nature. The title sort of gives it away: Sumney writing from an unusual perspective and not necessarily penning traditional love songs and that romantic ideal. When it comes to artists, labels will try to pull them in various directions and try to mould them into something accessible and rather ordinary. Sumney is not someone who necessarily feels romantic longing and cliché love songs are a good thing. Music is still dominated by these types of songs and, whilst it provides comfort to many, there are many who cannot and do not want to relate to them. As he explained with The New York Times in 2017, he grew tired of the love song:

“A lot of people were trying to pull me in a very pop direction. That’s immediately where most people saw me,” he recalled over breakfast earlier this month at the Soho Grand. Instead, he realized, “I didn’t have to go there. I could go weirder.”

“I’ve never been in love, in romantic love,” Mr. Sumney elaborated. Tall, with mini-dreadlocks and chiseled features, he was dressed, as he often is, in black: a sleeveless mesh shirt, pleated trousers. “I have experienced romantic attraction to varying degrees, and I have platonic love, and I obviously love music. But romantic love is its own genre, and that is something that I have never experienced full-blown.”

He added, “I was just bored with the love song, the idea of the love song as the archetype, and also the culture that suggests romantic love is the end-all and be-all of human existence. I wanted to question and challenge that on a personal level and on the social level — the personal is the social. I think I just felt alienated by the idea of pursuing romantic love. And I never fully saw myself in love songs, although I enjoy them. But I was wondering, what else is there?”

It might sound odd that an artist wants to eschew love and writing songs with lust and romance at their heart. If you have never felt romantic love or been in a relationship, it seems weird to write as if you have and, for many, that desire of togetherness is not what drives them. I am not sure whether Sumney’s forthcoming album changes that and he has, since his debut, fallen into a relationship. I do get a little weary of the overload we have in music; the raft of songs concerning romance, passion and heartbreak. It can get so predictable, and what of people who are not in relationships or those who feel they do not want to be defined by a relationship?  In some ways, Sumney is rebelling against the expectations of many. I would say that the vast majority of artists write about love and relationships at some point in their careers. As we are becoming more educated regarding different sexual preferences and mental-health, solitude and loneliness should not be stigmatised or ignored. There are those who feel more comfortable on their own, so their music is more likely to explore that. If you are listening to songs concerning splits or those who are in love, how are people going to relate if it does not chime true to them? Where are the artists who are discussing being alone or not chasing that romantic avenue? Sumney was asked about the romantic ideal in an interview with FADER in 2017; how it can be bad for our mental-health to subscribe to the notion that we all need to be in a relationship:

“In the book Against Love, author Laura Kipnis breaks down how our society’s obsession with romantic love is unhealthy. Do you think the romantic ideal can be bad for mental health?

When you’re conditioned to look at something as normal, the sadness that can come from not being able to obtain that is super taxing on your mental health. But also, you can be in situations that are psychologically fucking you up, but there’s a commitment to stay with that, because that’s what you’re “meant to do.” You get absent fathers, or moms with post-partum depression. It’s complex, because humans are social creatures, and I actually do think we need other people in order to feel sane. It’s really unhealthy, the idea that you need another half to make you whole, but also I don’t think it’s particularly healthy to totally self-isolate. There needs to be a balance, and I don’t think there is, currently.

PHOTO CREDIT: Alexander Black 

Moses was born in San Bernardino, a city an hour east of L.A.; at the age of 10, his parents, both pastors, moved the family back to their home country of Ghana for six years. It was a time that was tinged with homesickness for him, defined by the CDs his dad would bring back from the U.S. Moses taught himself to sing by carefully copying the runs and adlibs of Beyoncé, Justin Timberlake, and Usher. He wrote his own songs from the age of 12, but kept it a secret, hiding his songbook under his mattress. “None of my friends knew that I wanted to sing,” says Moses. “I was a loner; I’d ride my bike around with some other guys from the neighborhood sometimes, but I didn’t have a lot of school friends. But [Ghana] taught me how to spend time alone, which is something everybody needs to learn.”

To play devil’s advocate, what would you say to someone who asked: “Why write about aromanticism when the world needs more love right now”?

Saying the words “the world needs more love” — using those words as a political device to imply that love all round is going to produce equality — is ignorant and unrealistic. The problem with the world is not that people who are different don’t have enough “love” for each other. The problem is that the people with power insist on using it, and maintaining it for themselves. Ultimately, when people say “we need more love,” what they are telling oppressed people is that they need to love the person that’s killing them. And what do they have to gain from that? A clear conscience? Some promise that in the afterlife, after they’ve been murdered by the people taking resources from them, that they’ll go to heaven because they have warmth in their hearts? It [goes back to] what we were talking about earlier with “Quarrel” — someone can love you and still be oppressing you, still not listen to your voice. Emphasizing love is a waste of time. What we need to emphasize is the dissemination of power, and a deconstruction of hierarchical structures that keep people at the bottom, and keep others at the top.

 PHOTO CREDIT: Aaron Sinclair

One can say that the world needs more love right now, for sure, but that does not necessarily mean we all need to be in relationships to make that happen. I think we all need to be more understanding and patient with the world. Sumney does not reject physicality and sex. Instead, he feels that one should follow their own path and not feel pressured to conform to what society feels is normal and typical. When Aromanticism arrived, many critics were impressed by Moses Sumney, as he was not doing what so many of his peers were. It would have been easy for anyone else to express their pains and joys about love and give the impression that a relationship is what they need to be happy. Sumney took a different approach and, whilst he was red-bloodied and engaging through the album, that never translated into someone who wanted to settle down or find comfort in a relationship. This review from The Guardian explains more:

“It’s unlikely, however, that Bieber would make a concept album about the nuances of being aromantic – the inability to feel romantic attraction. Sumney might sound swoonsome, but he’s singing about one-night stands, the narcissism of emotional detachment and the nuances of lovelessness. He is particularly tired of the age-old notion that humans need to find a soulmate in order to feel happy and complete. “I don’t reject romantic love,” says Sumney. “I believe that it exists for some people, but some people will never have it and that can negatively manifest within you.” Sumney wrote the album from a place of familiarity. As he asks on the track, Doomed: “Am I vital if my heart is idle?”

While all that might sound like some grave aftereffect of years spent swiping dating apps, Sumney finds optimism in ambiguity. The latter applies both to his genreless music (some Prince-like and sensual; one, Quarrel, like a warped James Bond song) and his identity. At one point, when I ask for his age, he replies: “I’m in my 20s but nobody ever gets it right and it’s perfect for me.” He is self-aware and sardonic, but he also recognises that at any given moment, people can change. On whether he is romantically inclined himself or not, he says, cryptically: “I think the idea that I am, and I am not, is what’s interesting”.

 PHOTO CREDIT: Laura McCluskey 

I am bringing in a few interviews and talking about loneliness, because it is quite unusual in music. Not that it is the defining characteristic of Mosey Sumney, but he is someone who will give guidance and strength to others who do not want to fit into narrow moulds and write like everyone else. Many might assume that his music is quite bleak and defeatist, it is very deep and thought-provoking. Sumney is moved by passion, but that does not mean he wants to be committed or feels that is what makes him human. He has a love of art, philosophy and words; he is a stylish artist and someone who has a lot of different sides. There are few out there right now who are as engaging and fascinating as Mosey Sumney. It seems that Sumney uses music, in a way, of explaining who he is or revealing his inner-most self in a way he could not otherwise do. In an interview with SSENSE, he was asked about his childhood and the fact he always wanted to be involved with music:

“I’ve read past interviews where you talked about how being picked on as a child for singing in front of your classmates made you insecure about performing, even though you always knew you’d be a musician. Are you feeling more secure now?

t definitely feels better now. It feels like I’m a real person. It feels like I’m doing a thing that I was placed on this Earth to do. I find myself connecting more with my own kind of idiosyncratic nature. And that’s what I love about people like Grace Jones and Nina Simone. Or Björk, you know. People who are just weirdos. I see what they’re doing and it feels like both beyond the boundaries of what we know of human nature to be able to produce, but also honest, and natural, and innate at the same time. Which feels undefinable.

PHOTO CREDIT: Eric Gyamfi 

Although there is a nod towards philosophy towards the end of his debut album, it is a bit of a revelation. On Aromanticism, there is such depth and so many songs that move you and dig incredibly deep. There are few records as compelling, intelligent and nuanced than Aromanticism. Not only does Aromanticism stray away from the rather routine and boring love songs; Sumney talks about self-identification and touches on philosophy:

One way you’ve defined your identity in the media is by presenting your own personality via the ideas of others. You prefaced your last record with an examination of Aristophanes, and then on the record itself, you have a song called “Stoicism.” Where does your interest in Greek mythology and philosophy come from?

It’s so funny, because I think the record makes it seem like it’s been a deep interest of mine, but it only really emerged towards the end of making the record. I wanted to contextualize it in a way that reached beyond modern times.

We’re in such a place where people are [self-]identifying more than ever before, and that feels so modern to people, especially to the old guard. I wanted to contextualize identification as something that has always happened. We’ve always been looking for ways to define and describe ourselves, or ways to give cultural significance to our personal feelings. And so I needed to reach beyond when any of us were born to say, like, these concepts I’m thinking about have been around forever”.

 IN THIS PHOTO: Tonje Thilesen

I will move on to talk about Moses Sumney’s latest track soon enough, but I wanted to discuss a few more sides to the man. I am very much in the present and engaged with what he is doing now. However, to get a full sense of who Sumney is and where he has come from, it is important to look back at his debut and the themes discussed. What strikes me about Moses Sumney is the fact that he is very human and flawed, yet there is something very spiritual, otherworldly and extraordinary about him. These contrasts make his music fascinating, and one is treated to an artist who is so different to anyone else out there. I have read quite a few interviews Sumney has conducted and I am always fascinated and hooked. He speaks in such a way that you are gripped and immersed in his world. I want to bring in an interview he gave to Clash Magazine, where he talked about keeping a dream journal; also how he was quite an ambivalent human and creator:

“The notion of dreams, too, is integral to the record; each song billows out, processing thoughts and emotions in often outlandish ways, a form of songwriting that works with an emotional, not mathematical, logic.

He tells Clash: “I don’t always remember my dreams but I started keeping a dream journal about a year ago, to document and remember as much as I could. Sometimes I write songs in my sleep - I’ll hear music and then get up and write it. I’ll have weirdly prophetic dreams. I think they’re definitely really important.”

“The sounds would emerge or present themselves as we would go along,” he explains. “But it was most important to me to start songs on my own before bringing in powerful collaborators, and that was the way that I could maintain my ideas. In terms of aesthetics, certainly.”

“I can feel satisfied and content but… that goes away,” Moses says at one point in our conversation. “I feel like a very ambivalent person - like, I can feel everything at different times. Everything I say about myself, the opposite will, at some point, become true. I don’t know. I’m curious to see how other people view that, how other people respond to that, because life is long”.

 PHOTO CREDIT: Kinfolk

There is a lot to unpack when it comes to Moses Sumney, and he is clearly a deep thinker and original artist who warrants a lot of respect and time. I do like the fact Sumney does not follow everyone else when it comes to songwriting themes, and he has this need for solitude that does not mean he excludes other people. I do think it is hard to maintain a relationship and, for many, romantic commitment is not a goal of theirs. His debut album explored sex, but there was never this feeling that things had to lead to a serious relationship. Indeed, on his latest outing, Virile, the lyrics are fascinating and make you wonder. It is from his forthcoming album, and it (the track) is among his most arresting and interesting cuts. I have listened to the song a few times and am still investigating the lyrics and what each line could mean. Moses Sumney is intellectual and passionate, but he also has this very cool and stylish side. If you look at the photos in this review, one can see Sumney is very fashionable and looks great. Maybe it is not directly relevant to his music, but I wanted to bring in one last interview, where the journalist talks about Sumney’s grab after he has completed his photo shoot:

“The Los Angeles-based musician has just finished his Crack Magazine photo shoot, and he’s wearing a sharp ensemble of drapey black fabrics and small, round sunglasses. He’s immediately striking and as we speak his softly spoken demeanour commands attention. At the same time, he possesses an instant warmth, an aptitude for listening intently to what others have to say, and a dry wit.

“What we allow black men to do and the way we allow them to perform in terms of the way they dress, talk and express themselves is more limited compared to the ways that other men are allowed to perform,” he says. “There are things about the way I dress that would be more remarkable to people if I looked different, but I just don’t let that influence my style”.

The relationship between the seen and the unseen is a reccurring theme in Sumney’s aesthetic, and it seems to be the uniting factor in both his music and style. “I think that everything that we don’t understand with clarity is worth investigating,” he tells me”.

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 PHOTO CREDIT: Shayan Asgharnia

Opening with wordless vocals and a combination of pointed piano notes and dreamy harp, there is a mix of emotions that open Virile. (I would suggest people watch the video for the song, as it is pretty eye-opening). In terms of the lyrics and their meaning, each listener will have their own thoughts; the truth does not reveal itself instantly, and there is a sense of ambiguity. I do like how the song opens and gets you curious right from the off. Sumney has always blended sounds and genres to create something very much his own. On Virile, there is that integration of the charged and tender. His delivery is soulful and impassioned. Rather than simply spit the words out or deliver them in a very ordinary way, Sumney seems to feel every thought and puts his all into every word. “On the long hike through Blue Ridge Mountains/I can feel the earth move”. One gets the impression of Sumney hiking and exploring nature, but maybe that is not the case; perhaps he is using mountains as a metaphor. Indeed, there is a feeling of mortality creeping in. Sumney discusses the fact that none of this matters because one day he will return to dust and matter. It may sound bleak, but there is so much beauty in his voice. I am not sure what compelled the song and its creation. One gets a feeling of peace in Sumney’s voice; in the pre-chorus, one gets this gorgeous elongation and sense of uplift. It is hard to describe, but there is dreaminess to the vocals and this rush of energy. It is a gorgeous sound. Despite the luminous and bright feel to the music and vocals, the lyrics in the chorus suggest something a little more anxious or pained. When singing “You've got the wrong guy/You wanna slip right in/Amp up the masculine/You've got the wrong idea, son”, I wondered what Sumney was referring to. Through all of this, the virility fades, and there is this sense of mystery to the words. When I said the words were quite oblique and everyone could make up their own minds, there is this mystery and detachment.

 PHOTO CREDIT: Sam Keeler

“Dear son/We pick our own prisons” summons up images straight away, but I was not entirely sure what Sumney was referencing. I have talked a lot about how Sumney writes of loneliness and does not subscribe to the perception that we all need to be with someone to find meaning. Maybe there is a nod to that in the lyrics, yet his vocal twisting and passion sort of takes your mind somewhere else. Sumney is masterful when it comes to giving his words such character and attention. He goes from high to low notes; from fast to slow and, through it all, you dive into the song and try to walk alongside him. The pre-chorus swings back around – “Cheers to the patriarchs/And the marble arch/Playin' their part/The gatekeeper's march” –, and I had to listen a few times to see if I could figure what Sumney was singing about. Maybe there is this rebellion against being defined and what makes a man. Maybe Sumney feels like he needs to be a family man or he needs to follow society’s beat. Sumney never gives too much away, but one gets the sense that he is this false impression of him or he has to live a certain way. I love the vocals – Sumney’s strongest suit – and how there are so many dips and rises. He is one of the most expressive singers around and this all comes out on Virile. It is a fantastic track and a tantalising window into what we can expect from græ.

I am not sure whether Moses Sumney has tour dates coming up; one feels he will be relaxing as we head to the end of the year. 2019 has been quiet busy for him, and he is getting ready for græ. The album is a fair few months away, yet I urge people to investigate it when it arrives. So many journalists are asking which albums we are most looking forward to next year; the artists we hope will release new stuff. I think Moses Sumney’s upcoming album will be among 2020’s best, and few artists will match him when it comes to originality and quality. I shall leave things be in a second. It is amazing to see Moses Sumney grow and bring the world this incredible music. I think he is one of these artists that will continue to produce albums and grow stronger. I have talked a lot about Sumney and how he covers loneliness and refutes romantic love. It sort of makes him sound cold but, in reality, he is simply saying how, for some, being in a relationship is not what makes them complete. I do think the raft of love songs has put this pressure on people to be in a relationship or highlights how this is normal; anyone who is not in a relationship is somehow flawed or unusual. Credit to Sumney for following his own path and giving power and voice that those who feel the same way as him. Virile is a terrific track and a taste of what is to come on his sophomore album. In terms of themes, one would expect him to keep on exploring the notion of self and love; maybe there will be some more political edges but, whatever he brings to us, you just know it is going to be hot! I shall leave things here, but I want people to follow Sumney on social media and keep track of his musical progression. He is a terrific artist who makes music that is…

 PHOTO CREDIT: @ania_shrimpton

SO long-lasting and marvellous.

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Follow Moses Sumney

TRACK REVIEW: Anna Calvi - You're Not God (From Peaky Blinders Original Soundtrack)

TRACK REVIEW:

 

 

Anna Calvi

PHOTO CREDIT: Roger Deckker 

You're Not God (From Peaky Blinders Original Soundtrack)

 

9.6/10

 

The track, You're Not God (From Peaky Blinders Original Soundtrack), is available from:

https://www.youtube.com/watch?v=y_-74U4V1Hw

GENRES:

Art-Rock/Alternative-Rock

ORIGIN:

London, U.K.

RELEASE DATE:

12th November, 2019

LABEL:

Domino Records Co Ltd

__________

WHEN approaching today’s review subject…

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 PHOTO CREDIT: Eva Pentel

there are a few things that I need to explore. In terms of Anna Calvi, she is someone I have been a fan of for years now - and I have seen her music develop and build. For her latest track, she sort of assumes the psyche of a T.V. character; writing a tortured song that sort of steps away from her usual template and explores new realms. I shall come to that soon but, before then, I wanted to touch on live performance and how she sort of captivates audiences because of her power and abilities. There are some performers who come off as quite quiet and softly-spoken off of the stage and then transform when they are on the stage. Calvi is not particularity shy, yet she does speak in quite a gentle and delicate way. She has a beautiful speaking voice, but she seems to evolve and transform when she performs. Maybe it is the allure of the stage or the fact she can lose herself, but one gets impressions of Kate Bush in that respect – the fact that both are amazing live performers but assume much bigger personalities when they perform. Calvi knows how important it is to connect with the crowd and bring her music to the fans. Having released Hunter last year and been nominated for a Mercury Prize this year – she lost out to Dave for PSYCHODRAMA -, there are a lot of eyes her way. People want to see her amazing tracks up-close and personal. As such, one is treated to this phenomenal live set that brings the songs fully to life and showcases this artist with an enormous voice and insane guitar skills. Like St. Vincent and Taylor Swift, Calvi has been responsible for more women picking up a guitar and wanting to play. I do think there is this impression that Rock bands and male artists are the only great guitars players and women stick to singing. I think perceptions are changing and, with Calvi striking hard and leading the way, we are seeing attitudes change.

There are a lot of great bands and female artists who play guitar, yet I still think there is sexism regarding women and the guitar. Anna Calvi is one of the finest players around and, combined with her amazing voice and incredible tracks, Calvi’s live sets are the stuff of legend. When she played London’s Roundhouse recently, critics were keen to have their say. Louder Than War wrote thus:

“Swimming Pool was performed in silence, I’ll Be Your Man built from a finger tapping intro before busting into an explosion of noise and by the time we get to Don’t Beat The Girl Out Of The Boy we’re realising that we’ve gone this far still marvelling at the voice that must be one of the strongest in the business that she pushes further and further as the evening goes on. A powerful voice that throughout the evening is flawless.

And then there’s the guitar playing.

Whilst all the above is going on she’s shredding her guitar like Hendrix or embracing it like Carlos Santana. Standing with it at arms length over her head and finally wrestling it to the ground as the final song, a cover of Suicides Ghost Rider throbs along and brings the night to a close.

From The Camden Barfly to this in just over eight years (Xposure live for John Kennedy’s Xposure show on XFM – Arrows of Love & Wild Palms book ending the night). She was always going to be this good we hoped and after a few chance meetings at the Summer Festivals she’s now cracked the big venue game. Three fabulous albums, three fabulous musicians (Alex Thomas on drums, Mally Harpaz on additional percussion and keyboards) and tonight, another elegant, almost Prince-like performance that was also aided by a near perfect audience willing to stand and soak all these tunes in across one evening (shame about the phones).

Anna Calvi is at the top of her game at the moment, big festival headliner in the making with a handful of potential James Bond theme tunes up the sleeves of her flamenco outfit”.

Because Anna Calvi has such an affinity with the stage and knows how important it is for artists to perform and hone their craft, it is great she has been chosen as the Ambassador for next year’s Independent Venue Week. The week is, as is obvious, celebrates venues around the country. From the relatively new and small to those more established and capacious, we are shining a light on hallowed spaces that not only provide opportunities for artists to cut their teeth and get invaluable experience, but venues enrich local communities and provide important cultural centres. Also, in terms of jobs, there are many people who rely on venues. This article from DIY explains more about Independent Venue Week 2020:  

 “Anna Calvi was announced as the new ambassador for Independent Venue Week 2020 today, in a gathering at London’s 229 venue presented by the BBC’s Huw Stephens.

Helming the seventh year of the campaign, which celebrates grassroots venues around the country, she takes over from last year’s representative Novelist. Previous ambassadors, meanwhile, have included Wolf Alice, Tim Burgess, Frank Turner and more.

Taking up her post today, the singer - who was nominated for this year’s Mercury Music Prize for third album ‘Hunter’ - revealed that she would be announcing a special show in conjunction with IVW, and that the project was close to her heart because she’d met her drummer of 10 years at a small venue”.

Calvi is, as you’d imagine, chuffed at being selected and she will get to shine a light on the amazing and crucial venues we have. Not only did Calvi meet her drummer at a small venue, but she played a lot of intimate venues earlier in her career; without which, she might not have had the chance to build her career and record at all. Music fans need music venues to see which artists are worth exploring and get that sense of community and connection. I will explore venues in more detail closer to the start of Independent Venue Week, but Anna Calvi is a brilliant Ambassador and will relish the opportunity. As part of her role, Calvi will be talking about venues and their importance; she will champion these great spaces that we need to preserve. There are a lot of venues closing around the country, so ensuring we protect the ones that are still in business is paramount.   

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Anna Calvi has been busy promoting Hunter and touring. It has been a very busy year, and Calvi has enjoyed success and adulation. I will nod to her honours and the fact she won the Fender Play Award presented by Q, but I wanted to talk about a passion of Anna Calvi’s: Peaky Blinders. There are a couple of reasons why Calvi composed the score for Peaky Blinders – she came in on the fifth series and has added something wonderful to the show. Not only has Calvi been afforded the chance to bring her talents into this new world and add her own spin; she is also fascinated by the genderless-ness of its lead character, Tommy Shelby. Calvi explored genderless themes on Hunter and has used her experiences and passion to incorporate something arresting, cinematic and moody to Peaky Blinders. I have not seen the show myself, but I have heard the score and am excited to review a new track from Anna Calvi. In this NME interview, Calvi talks about composing for the show:

“Those who have been watching will now be well-acquainted with Calvi’s impact on season five of Peaky Blinders. Having penned the score, her dramatic breaths, guitar virtuosity and cinematic soundscapes are now indelibly married to the tortured psyche of Tommy Shelby.

“It wasn’t difficult, it was just a lot of fun,” she tells us. “It was incredible for it not to be about me and to really try and get into another character. When I was doing it, I really felt like I was him. I really got into the mindset of Tommy Shelby.”

What you were like around the house at that time?

“Moody! Very moody…”

On continuing her themes of blurring the lines between masculinity and femininity, Calvi says: “The idea of evoking something genderless is definitely something that I explored on my record [2019 album] ‘Hunter’. There’s something about Tommy that’s not just his wife or Lizzie making him have a feminine mind. There’s something intrinsically weirdly genderless about him as a character. Maybe it’s because it’s not about him saying things – you feel his thinking just by his stare.

“You’re almost a shadow to the character.”

PHOTO CREDIT: Roger Deckker 

With director Anthony Byrne confirmed to helm Peaky Blinders season six, does Calvi fancy sorting out the music again?

“I’d love to.”

Perhaps a cameo this time too?

“I feel that I’d look pretty cool in all the Peaky clothes. Maybe I could just be some kind of drunk whore in the background. I’d just want to glare in the back.”

As for her own new material, Calvi assures us that it won’t be another five years for her to release another album. She’s already at work on her next record, and claims it has somewhat of a ‘Peaky’ feel to it…

“A lot of the work I did for Peaky was me just playing around with the guitar to get some interesting soundscapes,” she adds. “That’s whet my appetite to do more of that”.

When it comes to soundtracks and scores, more and more artists are stepping into that area. I explored this when reviewing Thom Yorke recently – who composed the score for the film Suspiria and has created some of his best work since that time. I do think artists can heighten their senses and add something stunning to the worlds of film and T.V. I can see artists of all genres stepping into T.V. and film and Calvi herself seems a natural when it comes to this side of things.  There is nothing to suggest Calvi cannot balance composition and her normal songwriting. It seems like she has a great passion for Peaky Blinders, so it will be interesting to see what comes next. Artists such as Kacey Musgarves, Weezer and Lauryn Hill have contributed music to soundtracks over the past week, so it is becoming more and more desirable. I shall move on in a minute, but Anna Calvi will provide inspiration for other artists who have been tempted by film and T.V. and want to explore this side of things. I think it is interesting what Calvi was saying about blurring gender lines and not having these conventional boundaries regarding songwriting and a character like Tommy Shelby. I am not sure whether Calvi is composing for the sixth series, but it seems like she is very keen and it will definitely bleed into her forthcoming album – she will have learned new skills composing for Peaky Blinders and will, no doubt, incorporate that into her own music.

Anna Calvi is this inspiration that I will soon cover as part of my Modern Heroines features. I feel she is a future icon and has many years ahead of her. I did mention her guitar playing and how she is encouraging others to pick up the instrument. I forgot to mention the Fender Play Award and the fact she is shining a part for other women. This article discusses the award and Calvi’s feelings:

“Anna Calvi has said she hopes to be an inspiration for aspiring female guitarists as she celebrates a win at this year's Q Awards in association with Absolute Radio.

The singer, songwriter and musician spoke to Official Charts as she was named the winner of the Fender Play Award at this year's Q Awards - a prize that celebrates an artist at the forefront of guitar music today.

"It's incredible for me because I started out as a guitarist before I was a singer," she said. "The guitar has always been a form of expression for me. It's something that I love doing so much and people seem to like the way I do it, which is really lovely."

Anna - whose three studio albums have all been shortlisted for the Mercury Prize, including her latest album Hunter - explained that the record has picked up a growing female following, something she hopes will inspire the next generation of guitarists.

"I was the only girl in my world who played the guitar," she recalled. "Which was strange, but I noticed a lot of the things I liked doing a child were supposedly meant for boys. I liked Skateboarding, climbing trees, playing football, guitar. It was confusing to me that they were supposedly boy things because I always found them fun.

Anna - whose three studio albums have all been shortlisted for the Mercury Prize, including her latest album Hunter - explained that the record has picked up a growing female following, something she hopes will inspire the next generation of guitarists.

"I was the only girl in my world who played the guitar," she recalled. "Which was strange, but I noticed a lot of the things I liked doing a child were supposedly meant for boys. I liked Skateboarding, climbing trees, playing football, guitar. It was confusing to me that they were supposedly boy things because I always found them fun.

"I think it's important to remain excited by what you're playing," she explained. "Developing as a guitarist is so important and not just repeating yourself over and over again. I've tried to expand my palette with each record. I'm looking forward to seeing what that brings next".

I am not sure whether we will see more women picking up the guitar in years to come, but it seems like there is this revolution occurring. I still think there are limits placed on women and these gender roles imposed. Calvi is someone who always blurs gender lines and is helping to break down barriers. Having this idol who is owning the stage and producing some of the best music around, there are few as strong and inspiring as Calvi. I shall come to reviewing Calvi’s new song, but I wanted to bring in a couple of others themes that seem relevant when we explore Anna Calvi and her music. I have spoken a lot about sexism and inequality in the music industry. We are heading into 2020, and one wonders whether there will be balance and parity regarding festival line-ups and how women are represented. I do think there is a long way to go until we see actual equality, yet there are small steps being made all of the time. So many female artists have to face sexism and the struggle of being recognised.

Anna Calvi has faced obstacles and had to overcome a lot of ignorance in her career. In some ways, Hunter was a way of finding her true voice and discussing subjects such as gender rights. In this interview, Calvi touched on themes of gender stereotypes and women being overlooked:

“I’ve always had a quiet speaking voice”, she says at the south London offices of her record label. “And when I started to sing it was a way of releasing all of that introversion.”

“It was a time to rebuild my life, my identity and confidence”, she says. “I wrote the record very much in tandem with falling in love again and exploring being happy and experiencing pleasure and being more free. All the possible things a human can be, which is so restricted by the constraints of having to perform one’s gender. That was what I wanted the record to feel like.”

As a rebellion against women’s invisibility, gender stereotyping and its limitations on humanity, she made her boldest record yet: Hunter – an album she wanted “to feel visceral and primal and wild and messy and have a rawness to it”. And she put out a statement of intent on her website, laying out her views on its themes. “If I hadn’t gone through that difficult time, maybe I wouldn’t have been able to have been so risk-taking in the music”, she says. “It does feel quite exposing”.

There is a long way to go regarding gender roles and ensuring that the playing field is level and fair. There have been steps made this year, but we are still in a situation when festival line-ups are male-heavy and there are fewer opportunities for women. Big and important albums like Hunter and being celebrated, so it is only natural the messages of female empowerment and importance will be taken to heart.

PHOTO CREDIT: Mathew Parri Thomas

More and more, Calvi is this incredible leader who is shining a light and paving the way for others. Not only is she battling against sexism and gender roles; she is an artist in a queer relationship and, gradually, there is this acceptance and visibility of queer artists. Maybe we have not seen true acceptance, yet I feel like artists such as Shura and Anna Calvi are opening up doors and conversations. In 2019, we should not be talking about the need to do more to promote queer artists, as one would hope they would be naturally embraced. This is not quite the reality, so it is vital artists like Anna Calvi are heard. She spoke about queerness and her experiences in this recent interview with The Independent:

 “Both Hackman and Calvi have written songs about unwanted male intrusion into queer female relationships – “Boyfriend” and “Don’t Beat the Girl Out of My Boy”, respectively. “When you’re in a gay relationship and you’re out in the world,” says Calvi, “you can feel that your love is protecting you both, and you can feel really happy. But there’s always this risk that someone’s gonna try and break this beautiful thing that you have and say something to you, or try and make you feel uncomfortable. That feeling of being present in this beautiful thing can change and I just have this rage in me. Like, ‘F***. Off.’ And that’s what that scream is,” she says, referring to a guttural, drawn-out yelp in the middle of the song. “I will protect this beautiful thing that I have with all my life, and my defiance of you is my happiness. Nobody is gonna make me feel that we don’t have a right to be in this space, and to express ourselves.”

Calvi is buoyed by the increasing acceptance of queer artists into the mainstream, though she worries about her identity being commodified. “I talked to a journalist who was a bit older who was saying, ‘Is this whole sudden queer thing the new counter-culture, like the punks?’ And I tried to explain to her that the main difference is that if a trans person doesn’t feel they can be understood... we’re talking about life and death.

People kill themselves. It’s not just for fun, it’s not about what music you like or what hobbies you have, this is about people’s lives. And I think it’s really dangerous to try and condense it and make it a product. But I do think it’s great for me as an artist that there’s a family of queer artists. The difficult thing is if only people in that community hear about each other, then there’s a sense of ghettoising. I suppose equality is only when it’s not even a thing anymore. And we obviously are far away from that being the case.”

The problem, she continues, “is our world exists around the idea that the default human is a white male. Anything else is an exotic anomaly. That’s the big problem. Because the default is male in our world, there’s this feeling that if a woman wants to exist on equal terms, we have to almost become male”.

The subject of queerness is being brought into music more, but the reality for queer artists and people is quite stark. I do hope 2020 is a year where there are more discussions revolving around gender and sexuality; that we are going to see truly huge steps taken that means, in years to come, no artist should be overlooked and have to struggle – this extends to race and class. I shall leave things there, as I am keen to dissect and explore Anna Calvi’s Peaky Blinders track, You’re Not God. It is intriguing to speculate whether Calvi will continue to compose for the show, and whether she will bring some of the darker energy for that soundtrack/score and mix it into her own music. Who knows what Anna Calvi’s next studio album will contain. It is rather exciting to speculate! Right now, we have this Peaky Blinders track that is truly sensational and immersive. It shows what a phenomenally eccentric and talented composer and artist Anna Calvi is.

I love the opening of You’re Not God, as it reminds me a bit of The Dead Weather and Jack White’s work on Lazaretto. There is this eeriness and darkness that is both Gothic and contemporary. You get this raw and bellicose drum and a voodoo bite from the guitar that instantly summons visual projections and imagination. Even if, like me, you are not steeped in Peaky Blinders and familiar with it, you can appreciate the song and its meaning. I do know about Tommy Shelby and what he brings to the series. Unlike her studio work and her normal output, Calvi is putting sound at the forefront. If Hunter is an album defined by its powerful themes and Calvi’s voice, You’re Not God is defined more by its sonics and visual nature. I do love the fact Calvi is at her experimental best on this track. The guitar grunts and grumbles as we get this musky, bat-like and ghoulish wail from the background. You are transported to the murky and evocative scenes of Peaky Blinders, but Calvi brings something more to the music. From the sound of the first few moments and this enticing dynamic, the percussion comes to the front. Playing off of the cymbal, there is this calm and measured tease that actually has a lot of tension and menace. The wails come back in, before there is a drone in the background that increases and gets louder. Suddenly, you go from a dark and terrifying scene to somewhere safer. That sense of safety and respite might be misplaced as Calvi enters with breathy vocals. There are few actual words to the song and, as you’d imagine from a Peaky Blinders piece of music, the emphasis is more on the sound and composition. I had to go back again and again to the song, as it is rather heavy and big the first time.

It is an amazing song, and one that moves through different phases. I did notice that slight Jack White influence and some of his work. Mixing in that with so many different emotions and possibilities, one is drawn into this phenomenal song that can be appreciated as a standalone track. I could see it being well-received on an Anna Calvi studio album, because there is so much texture and nuance. There is a Peaky Blinders playlist that unites all the tracks so you can sort of see where the latest cut fits in and investigate other Anna Calvi contributions. I am reviewing this track without seeing the scene it accompanies or how it fits in with the show. I wanted to go in blind as it were to see if it would lead me in a different way. I think you could get too clear an impression of a track if you see which scenes its scores, so hearing it on its own has been important. I was amazed from the first moments, and I can tell how natural Anna Calvi is where it comes to composing. From that ghostly and oddly majestic start to the unnerving calm of the percussive cymbal through to Calvi bringing in a sensual-yet-exhausted breathlessness to the song, each listener will have their own scenes rushing through their heads. I have not really explored soundtracks and scores lately. I appreciate them when watching film and T.V., though I never usually listen to them out of context as it were. Hearing You’re Not God on its own terms has given me a fresh appreciation of composition. I usually listen to music with vocals, but hearing this extraordinary sound with very little vocal interjection is stunning. I suggest people listen to You’re Not God and, if like me, you are not a viewer of Peaky Blinders, you might want to do some investigating!

Anna Calvi is heading to the U.S. soon, and she will be busy up until the end of this year. Having enjoyed a successful year of awards, nominations and some incredible gigs, Calvi will take that energy and positivity into 2020. I am not sure whether she will release a new album (in 2020) but there will be new gigs and I am sure fresh opportunities. Calvi has expressed how she’d love to continue writing for Peaky Blinders, so fans might yet get another chance to hear her work on the screen. I have enjoyed reviewing Anna Calvi’s latest tracks and talking about one of the most important artists of this generation. Not only is Calvi a guitar icon and someone who is battling against sexism and helping bring queerness more to the forefront; she is also the Ambassador for Independent Venue Week next year and she will help illuminate the importance of venues. I do wonder whether Calvi will adopt more roles like this in future. She is an essential artist and she is providing so much strength for so many out there. I can envisage her genuinely affecting progression and breaking down barriers. Maybe she is a bit slammed right now, but one can imagine Calvi acting as a spokesperson for the music industry and helping to bring about necessary change. As a musician and singer, Calvi is already inspiring others and giving a voice to those who didn’t have one previously.  If you have not checked out Anna Calvi’s music, ensure you get involved and have a look at her Spotify account. Give her a follow on social media (all links are at the bottom of this review) and step into her world. Calvi is an amazing artist and someone who has many golden years ahead. I feel 2020 will be her most successful year and one where she will collect awards, big festivals slots and…well, who knows just how far she can go. 2019 has been a monster year for Calvi and she continues to go from strength to strength. Get behind, follow and respect a rare musical artist with immense talent, feverish passion and…

 PHOTO CREDIT: Jonathan Birch/Caryn Mandabach Productions Ltd. 2019/Press

A hugely powerful voice.

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Follow Anna Calvi

TRACK REVIEW: Prince - Don’t Let Him Fool Ya

TRACK REVIEW:

 

 

Prince

Don’t Let Him Fool Ya

 

9.4/10

 

The track, Don’t Let Him Fool Ya, is available from:

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

GENRES:

Funk/R&B/Pop

ORIGIN:

Minnesota, U.S.A.

RELEASE DATE:

7th November (YouTube)/8th November (Spotify), 2019

LABELS:

NPG Records Inc./Warner Records Inc.

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THIS time around…

I am taking a slightly different approach to the review, whereby I am assessing a song from an artist who is no longer with us. Prince died in 2016 and, since then, we have seen a few posthumous releases. I am one of those people who is interested in posthumous releases, but I do feel like estates will release anything to keep the fans happy. It can get a bit disrespectful and the quality does dip. In the case of Prince, there is this legendary vault that contains all the material he recorded; it is said that he has enough stored in there to keep people happy for many years to come. Whilst some artists who have died sort of recorded everything whilst they were alive and there might not be too much more left in the cupboard, in the case of Prince, there is this treasure trove of material. I will not do my usual review structure where I discuss various subjects and apply them to the wider musical world. As this is Prince, I wanted to concentrate on him and talk about various things specific to him. Before moving on, NME tell is about his latest track, Don’t Let Him Fool Ya:

 “Recorded in 1982 at the late icon’s home studio on Kiowa Trail in Chanhassen, Minnesota, the track will appear on a new reissue of ‘1999’, which is out on November 29.

The song is among 35 previously unreleased tracks on the forthcoming reissue.

Fans will be able to get their hands on a Super Deluxe Edition (comprised of 10 LPs and a DVD), a Deluxe Edition (2CD or 4LP 180g vinyl/download and streaming), or the standard remastered version (1CD or 2LP 180g Purple Vinyl/download and streaming).

The Super Deluxe Edition’s DVD is a full, previously unreleased concert film shot at Prince’s Houston Summit show in 1982. Also included in the top-tier package are 23 previously unissued studio tracks (recorded between November 1981 and January 1983), and a complete live audio performance of the ‘1999’ tour”.

I do love the fact that Prince spent so much time at his Paisley Park estate and crafted so much material. It might be sad to reflect on the notion of him alone and not really having anyone in his life. To Prince, music was his religion and real calling. He did get time to experience love, but one feels a more solitary life suited him; maybe he was not comfortable with the idea of being a family man and choosing that path. It is sad we will never get another interview from him or witness one of his blistering live performances. It will be four years next year since he departed, and we are still getting so much interesting stuff coming out. This latest track was mooted for an album that was released nearly forty years ago. I do wonder just how deep his archive is and whether we are going to get material that was recorded right at the start of his career. Prince released a lot of material in his lifetime and, whilst his later albums might not rank alongside classics like Purple Rain, one had to marvel at the sheer drive and work ethic of The Purple One. He was completely besotted by music and was, I think, trying to express himself through his art in a way he couldn’t do away from it. Many artists do that, but I think Prince did struggle and had a tough time of things. That might sound vague, but I can sort of identify with someone who could not navigate life and the usual social routes like everyone else; who might have felt a bit overwhelmed by things and had that one passion that consumed him. The hours he logged at Paisley Park means fans will get to hear his work for a very long time to come. Although one or two of the posthumous cuts have not been world-class, the overall quality is surprisingly sharp and it means we are all looking forward to seeing what comes next.   There is that ethical argument that asks whether it is right to release material by artists after they have died; they did not have say and the sense of control has been lost. That is true of many artists, yet Prince had this vault so that people could hear his work when he had passed. I do agree that many estates are trying to generate money from artists when they have departed, but Prince’s estate know that he would have wanted these songs out, and it would be a shame to see them locked away and ignored.

I want to move on and discuss a few other things about Prince. There has been talk for years about a biopic and documentary. I do wonder whether it will ever see the light of day, but a Prince biopic would be amazing. There is an ethical debate as to whether anyone can portray Prince and whether it would be right. I think a documentary would be great, but there are many networks and production companies who are trying to bring Prince to the screen. I am sure Prince’s diehard fans would be divided when it comes to a biopic, but there are many out there who would love to see it happen. This year has seen a lot of biopics coming to screens and it seems like Hollywood’s appetite has not dimmed. I can appreciate how a biopic keeps a musicians relevant or alive; it means they can reach new generations and we can see the music burst and be explored in a new way. Prince is a fascinating icon but, as he is gone, will we get a fair representation and will it do him proud? I think talk of a biopic has died down a bit but, back in December of last year, this article arrived that discussed a possible biopic and the best way to approach it:

“Hollywood’s obsession with throwback aesthetics can really push boundaries, and right now, a movie based on Prince‘s music catalog is catching my eye. Variety dropped the news that Universal Pictures has finally acquired the rights to a number of musical classics by the late pop icon after the studio “aggressively” worked to get them. The word is that Prince’s estate has been shopping the film’s concept for a while, although we shouldn’t hope for a typical biopic to be put in the works.

Instead, a jukebox musical centered on Prince’s music will spawn from this deal. This is evidently preferable to any run-of-the-mill biographical drama, as the estate figures that the musician’s feature film debut Purple Rain already covers those bases. This in spite of the fact that Purple Rain is still a largely fictional take on the artist, even if it has helped to craft Prince’s elusive image over the years thanks to his memorable work as its protagonist, the Kid.

PHOTO CREDIT: Manuela Testolini 

The bottom line is that mining Prince’s songs for a movie that could potentially align with his values is the way to go. There are already a couple of Prince-centric ventures in development as it is. Ava DuVernay and Netflix are teaming up for an epic documentary about him. Elizabeth Banks wants to retell the story of a chambermaid who accompanied Prince to a film premiere in her hometown (becoming a “queen for a day”). Universal is avoiding the competition of fidelity in favor of something more creative and that makes their project noteworthy”.

Not to completely exploit his name, but I think a think a Prince musical could be a better step. Instead of having a usual biopic structure, you could bring something to film or the theatre that would do him proud. I think there was talk of a musical, but I have not seen that materialise. There might be a musical in the U.S., but we have not seen anything in the U.K. It is difficult to balance things and make a project that will please everyone. However Prince is represented on the screen or stage, it is impossible to encompass all sides of his work and not omit anything. A lot of biopics have been criticised for either holding back when it comes to sexuality and explicitness – that is true of the Queen and Elton John biopics -, or there are issues with timelines and facts. As this article from The Guardian explains; would filmmakers strike that golden note?

“Prince’s evocative and lascivious songs could tell any number of stories, but it’s probably fair to say the film won’t centre on Darling Nikki, the sex fiend whom the singer meets “masturbating with a magazine” in a hotel lobby. At best we might be granted a montage scene set to Gett Off, although 23 positions could be a lot to get through in four minutes. The point is that Prince’s music is daring, spiky and kinky, and it might be hard to tease out a coherent narrative from songs as different as Raspberry Beret and I Would Die 4 U. It’s also likely that the queer edges of Prince’s music might get blunted by this type of endeavour – although if the film features a take on When You Were Mine with a male-male-female threesome in it I will be the first to doff my cap”.

Whilst we might have to wait a long time for a film or theatre production to arrive, there is a Prince memoir out in the world. The Beautiful Ones was originally designed to be the best book ever – that is what Prince had in mind. He was still working on it just before he died, so it is a case of the work being unfinished. It is out now and, if you want to grab a copy, there is a lot to enjoy:

“Prince was a musical genius, one of the most beloved, accomplished, and acclaimed musicians of our time. He was a startlingly original visionary with an imagination deep enough to whip up whole worlds, from the sexy, gritty funk paradise of “Uptown” to the mythical landscape of Purple Rain to the psychedelia of “Paisley Park.” But his most ambitious creative act was turning Prince Rogers Nelson, born in Minnesota, into Prince, one of the greatest pop stars of any era.

The Beautiful Ones is the story of how Prince became Prince—a first-person account of a kid absorbing the world around him and then creating a persona, an artistic vision, and a life, before the hits and fame that would come to define him. The book is told in four parts. The first is the memoir Prince was writing before his tragic death, pages that bring us into his childhood world through his own lyrical prose. The second part takes us through Prince’s early years as a musician, before his first album was released, via an evocative scrapbook of writing and photos. The third section shows us Prince’s evolution through candid images that go up to the cusp of his greatest achievement, which we see in the book’s fourth section: his original handwritten treatment for Purple Rain—the final stage in Prince’s self-creation, where he retells the autobiography of the first three parts as a heroic journey.

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The book is framed by editor Dan Piepenbring’s riveting and moving introduction about his profound collaboration with Prince in his final months—a time when Prince was thinking deeply about how to reveal more of himself and his ideas to the world, while retaining the mystery and mystique he’d so carefully cultivated—and annotations that provide context to the book’s images”.

In the same way we might see a rather watered-down and edge-less biopic, there are those who have reviewed the biopic who say it lacks real surprise and passion. Perhaps it is because Prince died unexpectedly and he was not able to see the project through to completion. It is tragic that he never got to see the memoir hit the shelves. He did have high hopes for it but, sadly, he died in 2016 and there has been this long period where others have been involved and the final product is not quite as electric as it could have been. I want to bring in a couple of reviews that explain how, even though the memoir is pretty good, it is not quite as strong as it could have been. Here is a sample review:

“This book is the shadow cast by one you will never read. On 29 January 2016, Prince chose Dan Piepenbring, a 29-year-old Paris Review editor, to help him write his life story. Less than three months later, he died, from an accidental fentanyl overdose, at the age of 57.

Prince’s original title remains, but instead of being the formally radical memoir that he hoped would be “the biggest music book of all time”, The Beautiful Ones is a curious collage of autobiography, marginalia and memorabilia, introduced by Piepenbring’s memories of the artist’s final months. The author credit is therefore a conundrum. Is this truly a book by Prince – or just one about him?

As a child, Prince used to scan the world with uncanny intensity, as if it were “coded for me”. In that spirit, perhaps the best way to approach The Beautiful Ones is as a dossier of evidence for the reader to decode.

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His idiosyncratic likes (Chaka Khan, Kung Fu Panda 3) and dislikes (Ed Sheeran, Ayn Rand), along with his thoughts on race, religion and music, help to make a star who was often regarded as an otherworldly enigma feel like he would have been fun to hang out with, his astronomical self-belief salted with a lively sense of humour. When Piepenbring praises his writing and adds, “I’m not just saying this to inflate your ego,” Prince laughs: “I don’t think you could if you tried”.

I do feel like Prince is a figure who had such a rich life that, like a biopic, a memoir cannot really do full justice. If Prince were to write it all himself and still be working on it now, maybe he would have put out the book that he always envisaged. Not to say The Beautiful Ones is a disappointment: instead, there are glimmers of brilliance and insight. That said, Slate remark how there is plenty on offer:

“What follows are a couple hundred pages of previously unseen flotsam—photos, drafts of lyrics, notes on the Purple Rain screenplay, a storyboard for a video, etc.—salvaged posthumously from the somewhat disorganized archives at Prince’s Paisley Park compound, accompanied by some quotations from press interviews over the years. All of this material is charming, often hilarious (it includes Prince’s high school cartoons and his sarcastic captions to a photo album he made while recording his first album in 1977 and ’78), and occasionally fascinating. Perhaps most striking is the Purple Rain treatment, where we find a much younger Prince again writing at length about his upbringing, this time in the guise of the backstory for the movie’s fictionalized protagonist, who was at this stage called Prince instead of the Kid. While it’s obviously exaggerated—instead of a divorce, he has the parents’ relationship end in a murder-suicide—the way he writes there about the mother’s drinking, the father’s fits of domestic violence, and the emotional trauma they inflict on their child feels like it adds something, at least in feeling and likely in fact, that’s missing from the middle-aged Prince’s more guarded and perhaps sentimentalized account. How much so, I suppose now we’ll never know”.

Prince counts in Don’t Let Him Fool Ya and, when contemplating the introduction and the beats, there is a little element of Let’s Go Crazy (from 1984’s Purple Rain). You can sort of hear the direction Prince was moving in when he recorded Don’t Let Him Fool Ya in 1982. Whilst a lot of Prince’s best music was recorded at Paisley Park, this track was laid down at his home studio at Kiowa Trail in Chanhassen, Minnesota. The synths and electronics swoon and brood in a funky and sexy way; the beats are tight and driving whilst Prince’s vocals are typically striking and tasty. If you can hear Prince in modern artists like Jay Som and Childsih Gambino, there can only be one original. Here, on this unreleased track, The Purple One is seemingly talking to a girl who has been fooled by a sweet-talking man. Maybe she has been sucked in and charmed by someone who is going to leave her. “I know he got a big old Cadillac…” says Prince and, whilst that sounds decent, the man is going to have to take it back. Whether that means he is a liar or he does not have the money to afford it, it results in the same thing: heartache for the heroine. One can imagine Prince watching from afar as this woman is being taken in by this snake. The man has fancy clothes, sure, but he cannot afford them and he will soon be stripped of his assets. Considering the tone and sound of songs that made it onto 1999 in 1982, I wonder why Don’t Let Him Fool Ya was omitted. It is a song that, whilst not the best cut on the album, would have made a worthy addition! The song’s title is a mantra-cum-seduction that warns the girl off him but also, oddly, sort of brings her closer to Prince. I feel like Prince is talking about a man who was spinning lies and, with him being revealed and outed, he can now make his move and show he is stronger and better.

 PHOTO CREDIT: Kevin Winter/Getty Images

There is always something sexual in Prince’s voice, so you never know whether he is looking to make a move or simply providing wisdom and warning to a woman who is being fooled. Prince went to City Hall to pay some bills and saw a picture of the man hanging on the wall – he is wanted and a deadbeat. The best Prince tracks are those that get you singing along instantly and stay in the head for days. Whilst Don’t Let Him Fool Ya does not sport a chorus as rapturous and memorable as 1999, there is more seduction and foreboding in Prince’s voice. Rather than provide a celebratory song, this is a moment that requires a measure of maturity and calm. That said, the sheer passion and energy that is provided pushes the song forward and rattles around the brain. There are wonderful growls and purrs from Prince; the hook is pretty epic and memorable. In fact, Don’t Let Him Fool Ya seems similar to I Would Die 4 U in terms of the composition – I can hear some similarities. It is clear that Prince had seeds of Purple Rain in his mind in 1982 and was moving in that direction. The more you play Don’t Let Him Fool Ya, the more you wonder why the song was not on the 1999 album. I think it could have fitted on the second side and offered a new angle. Maybe Prince felt the song was not quite finished; it is not as tight as other songs on the album and could have worked fine as a B-side. No matter, because we have this great song that is delighting people. Even the songs Prince didn’t release are stronger than most of what is out in the world right now – showing how far ahead of his time he was and what a genius he was.

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Usually, I would end the review by saying what an artist is up to and where they are going next. Sadly, with Prince, we do not have tour dates to look forward to. As I opened by mentioning his vault of unreleased material, it is not the case that Don’t Let Him Fool Ya is the last we will hear from Prince – far from it! There are different estimates out there regarding his vault and how many years of songs are in there. I do think there are decades worth left unreleased, so we can still hear the master do his thing long, long after he left us. There are question marks in the air regarding a Prince biopic or musical. I would like to see something that does him proud and ensures Prince’s incredible genius is fully displayed. Maybe we will get something in 2020; one cannot deny that we are feeling Prince’s loss hard. I will end by paying a tribute to an icon that is still thrilling us years after he died. It was a shock when he died in 2016, and I wonder what plans he had regarding new albums and projects. Prince was discovered at his Paisley Park estate, so he was going about his normal working day when he died. I feel like he would still be touring and would have released, maybe, four or five albums in the time since his death. There is nothing we can do to bring him back, but we are lucky that Prince was so prolific and gave so much material to us when he was alive; he has left this vault that will continue to bless the people for generations. Has there ever been anyone as alluring and captivating as Prince?!  In terms of musicianship, he was spellbinding; he remains one of the greatest singers ever and his musical palette was so diverse! I shall wrap things up in a minute, but I want to bring in an article that captures some beautiful words by poet Hanif Abdurraqib; he penned these for the introduction to the book, PRINCE: The Last Interview:

“To call a musician ahead of their time is an oft-used phrase that — far too commonly — gets attached to some mundane or uneventful exercise: a suggestive lyric here, or a music video there. For Prince, to be ahead of one’s time meant to have an active hand in both shaping music — how it would be heard, how it would be interpreted, how it would be distributed — and how he would use it to shape himself for generations to come.

Though Prince could be a difficult interview subject, I can’t help but sympathize with his reasons for being so. Interviewing at its best is a match between what a speaker is willing to give of themselves, and what a listener is willing to take away. I’ve been on both sides of that table; I have sympathy for both speaker and listener. Interviews can fail when there is an expectation that something large must be revealed: some long-held truth, finally unraveled for a waiting public. I find the best interview — as both speaker and listener — is one of restraint, where the tools necessary to unearth something during the more silent moments — patience, a sharp ear, and a ready pen — are used to bring about some of the best moments of the conversation.

For a lifetime spent first trying to figure Prince out, only to end up attributing him with an over-imagined lore, it was easy for me to detach from the idea that Prince — as mystifying as he managed to be — was also very human. It was there in his music, his visuals, his passions and his curiosities — his humanity. And toward the end of his life, it seemed the being human was his biggest shift yet. During a 2014 interview for Rolling Stone, Prince tells Brian Hiatt that he is entirely uninterested in talking about the past, despite that his past had, by that point, held so many gems worth unearthing and unraveling. “there is no place else I’d rather be than right now,” Prince tells Hiatt. “I want to be talking to you, and I want you to get it”.

I can imagine it will not be long until we are treated to a new Prince song or album! There have been generous offerings through 2019, so I feel 2020 will be ripe with new stuff. It seems off saying ‘new’, knowing that Prince recorded this material years ago. His loss will be felt for decades, for there is nobody as enticing, regal and brilliant as Prince! Whilst Don’t Let Him Fool Ya is not the strongest posthumous cut I have heard from Prince, it is a fantastic song and one that could easily have fitted on an album like 1999. I shall wrap things up here to say that, whilst we miss the master every day, the fact he has this stuffed vault of fantastic music means that Prince will be with us…

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FOR a very long time to come.

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Follow Prince

TRACK REVIEW: Róisín Murphy - Narcissus

TRACK REVIEW:

 

 

Róisín Murphy

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PHOTO CREDIT: Casper Sejersen 

Narcissus

 

9.7/10

 

 

The track, Narcissus, is available from:

https://open.spotify.com/track/5wbMrjW0AJz4JHwh7EzEb5?si=DzY8NGp1TNuOglLoIPcHHQ

GENRES:

Disco/Electro-Pop/Dance-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

8th November, 2019

LABELS:

Mickey Murphy’s Daughter Limited/Loaded Records Limited

__________

I normally ensure I review a different artist each week…

but, having been hooked by Róisín Murphy’s single, Incapable, earlier in the year, I have looked out and asked when another track is coming. Our prayers have been answered and, whilst I will review a new artist on Sunday, I want to revisit Murphy and her special brew. I shall try not to repeat too much from my previous review but, this time around, I want to talk about Disco and good vibes; that mixture of potent beats and a sadder subject matter when it comes to creating something incredible; why Róisín Murphy is not only a vital role model and voice of today but is also endlessly entertaining; a bit about teasers and the way artists structure their music releases; some mention of next year and why Murphy could well be a big fixture of the festival circuit – and what 2020 might hold in store for the legend. If you are my age (in your thirties), your first exposure to Murphy would have been through Moloko. Moloko formed in Sheffield in the 1990s and, although Murphy is from Arklow in Ireland, she and Mark Brydon crafted this incredible career and produced some of the best and most memorable music of the ‘90s. There are a lot of bands who start off and can own a decade and then, years down the line, the music changes and softens. There is not that adaption and sense of evolution that makes them shine and pervade at a different time. It is interesting seeing these iconic artists continue to make music through time and noticing how they alter. One might expect a post-Moloko Murphy to change tact and head in a new direction, but that is not really the case. Look at her solo albums so far – Ruby Blue (2005), Overpowered (2007); Hairless Toys (2015) and Take Her Up to Monto (2017) – and there is this continuous sense of growth and exploration. I will cover this later but what I love about Murphy’s music is the fact she continues to liven up the scene.

She can drop these bangers and classic cuts that delight us and, just when we need another hit, she is back with another track! The fact Murphy has been recording music for decades and seems to improve with time acts as inspiration and impetus for musicians. I know Róisín Murphy is hardly knocking at Death’s door, but there is this sense of expectation and limitation imposed upon artists, especially women, when they get to a certain age. That may sound insulting, but that I mean is that there is still this ideal that suggests artists are at their most relevant and worthy when they are young and hip; when they put out music that is quite accessible and commercial. Murphy is not only one of the most characterful and energising artists on the scene; she is also someone who sounds much more progressive and current than anyone else. I do think there are wide swathes of music that have grown pretty dull and formulaic. I think Murphy is a role model, because she does not conform or rest on her laurels. She could easily have put out a modern-day version of her Moloko work or followed the mainstream when it comes to what’s trending and turning heads. Instead, here is an artist who is always looking to see where the next gem will come from. Róisín Murphy is a songwriter who puts her passion and heart into the music and can somehow release these songs that stay in the head for ages. There are artists who release nuanced and memorable songs time and time again, yet few can reach the powers and heights of Murphy. I also love how she is pretty funny and down to earth. A lot of artists are either quite distant or they can be a bit too serious on social media. Murphy is always funny, quick to communicate with her followers and, I have it on good authority, she sports a range of fascinating and unique outfits when she hits the stage. There are few as fun as her and, at a time when we need joy and brightness, I think Murphy is a definite tonic.  

The year is almost through, but Murphy is not slowing anytime soon and, with a new track out in the ether, she will get more demand for live performances and, maybe, an album. I will move on, but I want to bring in an interview from earlier in the year, where she spoke about her career progression and how she manages to endure and remain right at the top of her game:

“Of course, the industry has changed since that initial release 12 years ago. Reflecting on what happened in the following years after Overpowered’s release, Roisin touches on the financial crash of 2007 and how it had an impact on the industry, as well as herself. “EMI actually fell apart straight away after we put the record out, the whole thing ended,” she says. “Now everything has become compartmentalised. For an artist like me, there’s more options in terms of staying independent, and being able to just sort of do deals for specific projects in mind. I’ve done that for a little while and that’s been quite good in a way. Certainly creatively very good because whatever I want to do, I just go ahead and do it.”

This artistic freedom and sheer drive that Roisin exudes is something that’s helped her stay on top form throughout the years. “I don’t think there’s a secret to longevity, but I think my secret is just the people I work with, the fact that I can just change everything on every project by changing who I collaborate with.” She says, “The music is always the beginning of everything, while I’m a very visual artist and I make the videos and concept the art, deep, deep, deep, the music remains the very centre of it all. It’s the seed of everything”.

It is interesting to read that Murphy works in a visual way. I guess a lot of artists do but, in some ways, she already has a video imagined before writing a song, so she can work that way. That is interesting. I can imagine Murphy happening about a hook and then, before you know it, she is off to the races and already plotting a video – she is a talented and original director.  

Before I go, actually, I have found proof that, indeed, Murphy’s costumes and styles are like nothing else out there. She spoke with Quintessentially this year and was asked about her sense of style:

“You’re also known for your love of fashion. Where does that come from?

Róisín:  My mum is a very glamorous and beautiful woman. People used to stop her in Dublin and ask for her autograph – they thought she was a famous actress. I used to watch movies with my mum, black-and-white films back-to-back, and then draw the dresses with her after. A lot of my childhood fantasies involved dresses and clothes and things I was going to get when I grew up. Ever since I was a teenager, I’ve been fascinated with the bridge between music and fashion. I’m not from a posh background but we were a very aspirational family.

My nana was always quite a matriarch and glamorous in her way too, with her red lipstick and fur coats. She ran a couple of businesses and was a big part of my childhood.

I was a total fantasist. I used to like to dress up like a Chinese lady and sit in my bedroom window in Ireland, waving to people as they went by in their cars. I also used to dress up as a ghost.

You’ve worn some incredible outfits in your time.

Róisín: The most dangerous outfit I ever wore was a Viktor & Rolf dress that was a lighting rig and a sound system! You’d wear it by having a tight steel bodice, and from that, these struts held the lighting rig above your head and the sound system around you. And then the dress clipped on around it. They put me on some high street, and it was windy that day, and the dress was like a sail!”

I digress…but I think it is good to paint a full picture of an artist who is fascinating and contains many layers. I might circle back to the looks of Róisín Murphy in the conclusion of this review but, pushing forward, I want to take a moment to talk about the way songs are presented today. Murphy is someone who started out at in a time when artists might rely solely on radio to get their music out there. They put out a single and, when it comes to album promotion, you’d either have magazine adverts, radio promotion or interviews. Now, with the Internet driving promotion, artists can utilise social media in their own way.

I am not normally a fan of teasers when we are awaiting songs, but Róisín Murphy sort of hits the right balance. When she was in Moloko, she could not have imagined a world that opened her up to a whole new world instantly and made promotion more electronic. This year, Murphy has released a serious of cuts that are not specifically for an album or E.P. Maybe we will see an album next year, but there are no firm plans or announcements at the moment. To transition from Take Her Up to Monto, Murphy has given us these effusive tracks that are dizzying and personal. Murphy knows just how hard it is to maintain a music career in these times. I am not sure whether she had an easier time with Moloko and whether the relative lack of the Internet made things easier; it is clear there is a lot of effort required. Teaser clips can be frustratingly inscrutable and vague, but I think artists need to hook people in and provide that excitement, rather than just giving a single over and letting it lay there. What makes the creative and promotional cycle that much more draining is the fact Murphy takes from her own life and is very frank. Last year, she spoke with The 405, where she was asked about her humorous approach to the raw and what it is like balancing all the spinning plates of music:

 “You often draw upon humour in your lyrics and visuals to deal with romance and difficulty. Why do you think you’re to this?

My father is a comic genius and he has the best ironic face I’ve seen since Les Dawson. Funny people don’t fuck you over. They are usually very intelligent, it takes a certain amount of intelligence to be witty. Wit is a very sophisticated thing and I’m aiming high. I’m aiming at sophistication in the lyrics. Humour is very good for describing things that fall between emotions. It’s on the outskirts of all those things. It helps me describe things that are complicated. When there’s moments of real sadness in humorous things, that’s when it really gets you. It’s just who I am and the way I look at things.

What is the hardest part about it?

Everything is hard. It’s not just the music, every single part of it is difficult. Putting the tour together, making the videos, keeping up on social media, there are millions of things I’m trying to catch up on. I’ve been getting up at 7am, I’ve got children, and I’m going to bed at 11pm every day for weeks, months un-end. I don’t see the point, you know? That’s me today, speak to me tomorrow it could be different”.

When one tries to put themselves in the shoes of an artist like Róisín Murphy, then they can start to appreciate the work and effort needed to simply see one song through from conception to completion. There is the aspect of conceiving a song and seeing it come to fruition. Now, artists are expected to keep active on social media and throw in teasers and posts; they have to knock on doors campaigning (in an Internet sense) and there is very little in the way of rest. As adverse to teasers as I am, I think Murphy has perfectly whet the appetite and she has readied people for this new song. I will be reviewing it soon, but this year has been one where she has put together these brilliantly funky songs. I haven’t really talked about the nature of Murphy’s songs and how they hit the mind and body. The ‘sad-banger’ is a sort of music where there is plenty of kick and energy, yet the subject matter might be heart-wrenching or a little more emotional. It is not a new phenomenon. Look at songs like Don’t Go by Yazoo, and you have an anthem that is pretty raw, but it has that enormous sense of movement and catchiness that elevates it to the status of a club banger. My favourite song of this decade, Robyn’s Dancing on My Own, is another classic example. There, we have a song where the heroine watches her lover kiss someone else, as she weaves shapes and is alone on the dancefloor. Róisín Murphy has not always dealt in heartache and longing.

A lot of her solo material has been filled with optimism and, even when Murphy is asking whether she is capable of love, there is a sense that she is using music to work through these concerns and has a positive outlook. All of this makes for one of the most important artists around. Murphy is the constant innovator and leader; she is giving music some of the most uplifting tracks around and, as I will explore in my review, she has not lost her golden touch. I recently put an article out that asked whether a Disco revival next year is the perfect way to lift a world that has gone through its fair share of challenges and dark days lately. Maybe it need not be exactly like it was in the 1970s concerning club culture, the fashion and songs, but I can hear aspects of Disco creeping into modern music and, every time I hear it, I feel like we could do more. I love Disco and think that it is some of the most important music put out in the world. Maybe she would not class her music as Disco – perhaps House or Dance would be closer the mark -, but there is no denying there is a strut and groove in the music of Róisín Murphy that recalls some of the best jams from the 1970s and 1980s. Although Disco’s death was celebrated by some at the end of the 1970s, it has never really gone away, and it is ripe for fresh investigation. A lot of the classic Disco anthems sported a wounded heart – Candi Staton’s Young Hearts Run Free springs to mind -, but that is good in a way. I do prefer the outright positive songs; if there is a relatable and universal sentiment at heart, it can resonate for decades. Murphy’s songs are true to her, and many other people will be able to relate and find strength in her words.

 PHOTO CREDIT: Marimekko

I love the way she can produce these fairly tough-going lyrics and team them with a composition that transports you to a club in the 1970s. I can well imagine Murphy setting her own club that encourages people to dress a little while; maybe one that is for mums and dads. I think I heard somewhere that she was thinking of running a club that catered for mums and dads, but I might be misremembering. I do think that 2020 is going to be a great year for Murphy. She has gigs before then in Australia, - and there will be many wondering whether there will be singles coming out or an album. I do think that a lot of the big festivals will have Murphy near the top of their lists. I think we could all do with a big show and something pretty exciting. There are many artists who fit the bill, but you get something truly wonderful with a Róisín Murphy gig. I am not saying she will be playing Glastonbury, but I would be surprised if her name is not in the running. With a run of great singles under her belt this year, there is a lot of momentum in her corner. She is in this exciting phase where anything seems possible. She is one these people that is such a breath of fresh air compared to other artists. Rather than provide rather bland answers and not really display any personality, Murphy has that common touch and honesty. I am not sure what she envisaged from life pre-Moloko, but it seems that fame was not on her agenda:

“Yet Murphy also concedes: "I think maybe, looking back at it, I didn't ever really want to be a pop star and I wouldn't really have suited being a pop star and it would have been extremely frustrating for me.  The reason I haven't in inverted commas 'compromised' is because I haven't been compromised by fame. Fame is the most compromising thing of all. The pressure that comes back from a big, big audience is on another level. Because they'll show you straight away if they're not enjoying it".

Like previous Róisín Murphy tracks, there is a long version and a radio edit. Because she is releasing singles, she is putting out these songs that expand and flow. I have listened to the full-length version of Narcissus, but am reviewing the shorter cut. It is no surprise that, even before I start writing my review, I am looking online and there are so many adoring and effusive comments about the song. Murphy is someone who commands a lot of respect and love and one would expect nothing less than a stone-cold banger. The opening wastes no time in getting the groove on! The bass and beats are taut and tight as crap! You are already tapping your feet and moving your body before Murphy comes to the microphone. Rather than slowly build and get us into the mix, Narcissus is a song that starts so fresh and alive. There is this tightness but, when Murphy sings, there is a coolness to the voice that balances against the composition. “Being left, being left…” begins the tale; “Being left with me, being left with me/Narcissus”. I love the way Murphy leads the vocals and then sort of backs herself up – a kind of call-and-response where she chants in the background. Many are comparing Narcissus to an old-school Disco classic, and you can see what they mean! It has that fizz and funkiness that defines the best Disco numbers, yet I am unsure who to compare the song to. Róisín Murphy has her own path and sound, so you get something very true to her, yet there is a sense of the classic and retro to her songs. That is a great thing, because there is so little in the way of spirit and rousing punch right now. With the stomping beat and strings strumming and stirring with potency, you are unable to resist the sheer energy and smile of Narcissus. I am not sure whether Murphy is talking about political figures that sort of look out for themselves or it is about a lover.

This is a sad story, as it is said, and this person is only loving what they hold. Whilst Murphy is letting the words out and having her say, you wonder whether she is still in touch with this person or whether it is a memory. There are not going to be any happy memories or endings; this narcissus is dying and you get this sense that the heroine is trying to wash her hands of the person. The full version opens the song up and allows for more breath and exploration. I am only assessing the shortened equivalent because it is the one that will feature on radio and most people will hear – head to Spotify and YouTube and you can hear the longer cut. I think Narcissus contains some of Murphy’s best lyrics for years. “Narcissus, she’s return into sand/If you fall in love with your reflection” is exquisite in its evocativeness and poetic touch. I am not sure whether Murphy holds ill feeling towards this person of whether she is looking back and providing some calm and measured education. I feel like there is a political component that could be about the wider world and powerful men who hide themselves in high esteem. If we look at the romantic sense, I feel like we are seeing this person who was only concerned with their own feelings and did not consider Murphy. There are some delicious strings that make me think of Chic and Earth, Wind & Fire. One gets this classic gold that bursts through the speakers as, when Murphy sings about this love going, she takes her voice down to its calmest and most serious. Narcissus twists and turns to create this sense of drama and defiance. If there is a finger dancefloor classic this year, then I haven’t heard it. I know Murphy has been captivating with her songs all year, yet she seems to have topped herself on this track! Hifi Sean & Crystal Waters are producing some great Disco, and I think it is them and Róisín Murphy that are truly bringing this sort of sound to the people! I might be wrong, but I am hearing very little in the way of true strut and dance today. I have been excited about this song ever since it was teased online. Not only does it live up to my expectations, but it exceeds them. One of the finest songs of the year, without a doubt!

 PHOTO CREDIT: Michael Hemy

I will wrap up but, when first I heard there was a new offering in the wind from the excellent Róisín Murphy, I was not going to be reviewing anything else. Tomorrow will see me cover an artist I have not reviewed before, but I will forgive myself for coming back to this very warming and satisfying well. I hope Murphy gets some time off before Christmas, as she has those Australian tour dates and she is busy pushing her music to the world. She is a legend who has not only survived the industry and its natural pitfalls but somehow grown more committed and amazing. I keep saying how next year will be amazing, and I stand by those words. There are a lot of artists coming through who are indebted to Murphy and are inspired by what she does. When she released albums like Overpowered, critics were branding her as weird; sort of dismissing her because of how she was dressed. The fact that Lady Gaga wore a near-identical outfit shortly after sort of suggests there is one rule for established artists and for the mainstream Pop acts. The music scene does need a bit of a spark when it comes to energy and songs that beckon you in. They need not be overly-happy; a sense of uplift and energy is all we ask. There is a lot of negativity circling, and I feel like music should provide some relief and pleasure against the harder realities of the world. I am glad Róisín Murphy is in the world and providing such colour, wonder and glitter. I love her fashion sense and the fact that she is a giggle; how hard she works and how deep her music is. I want to bring in a final interview snippet. Here, Murphy discusses (in 2018) how she is always looking forward and she is in a fantastically ripe period:

“NL: Is there any kind of artistic tension between making new music, which you obviously love, and working on legacy stuff like album reissues?

RM: It’s all just a massive positive to be honest. I’m in probably the most creative time of my life – I’m creative-directing everything I do, I’m directing videos for other people, I’m pumping out new music and working with all sorts of exciting people who want to work with me. And then in between, I can re-release these records that I’m really proud of. The next thing’s going to be re-releasing all the Moloko albums on vinyl, one by one. So there’s no kind of difficult tension there. I mean, I would say that the idea of doing a Moloko reunion tour or anything like that is totally off the table. Because I just don’t need to do that, and I don’t want to become some kind of heritage act all of a sudden. I feel like, even though I’m a woman of a certain age, my work’s relevant and has traction in the modern world. So what more can I ask for, really?”

It is full steam ahead for Róisín Murphy. If you are not familiar with her solo music, have a look on Spotify and buy her albums. There is nobody in music like her. From her looks to her attitude to the music she is putting out, Murphy is a marvel and an artist who continues to grow and mesmerise. I hope that she continues to make music of the highest order for…

 PHOTO CREDIT: MAX&Co.

YEARS and years more!

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Follow Róisín Murphy

TRACK REVIEW: Dua Lipa - Don’t Start Now

TRACK REVIEW:

 

Dua Lipa

Don’t Start Now

 

9.1/10

 

 The track, Don’t Start Now, is available from:

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

GENRES:

Pop/Dance-Pop

ORIGIN:

London, U.K.

RELEASE DATE:

31st October, 2019

LABEL:

Warner Records UK

__________

THIS is a review…

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PHOTO CREDIT: Janell Shirtcliff for Variety

I did not imagine myself doing but, as Pop music is changing and different artists are coming through, I wanted to review Dua Lipa and her latest single, Don’t Start Now. I have nothing against Dua Lipa – she is one of the most inventive Pop artists around -, but my attentions are usually aimed at other genres. Not only is Lipa one of the more original artists on the block; she is also one of the most popular in all of the world. Many might recognise her from the monster single, New Rules, which broke records and hit the top spot here. At a time where very few women go to the top of the charts, Dua Lipa definitely achieved something very rare and inspiring. Recently, she attended Cambridge University and made a speech regarding the realities of life in the music industry for young women. She talked about the scrutiny women face and what it is like on social media. Dua Lipa has also observed how Pop has changed and the fact that, in this modern time, the number-one song will sound very different to the one of next week. I want to discuss this first and, after, look at Disco and injecting more fun into the scene; social media and the pressures big artists face; gender equality and artists like Dua Lipa being able to affect change; I also want to talk about her family background. Let us chat about the new face of Pop music. People like me (in their thirties) will often get hung up on the music of the past. To be honest, it is not hard to see why many of us return to the Pop from the 1960s-1990s: there are massive hooks, melodies and that sense of life and positivity that gives you a lift and stays in the head. It is clear the landscape has changed very noticeably and gone through transformations.

 PHOTO CREDIT: Markus Pritzi

In terms of observations, many have noted how Pop in particular has become sadder and more repetitive; it is, maybe, a little less memorable because hooks are not as important as the personal and other considerations. Maybe it is a subjective measure as to whether Pop was better in my time or whether it is stronger now. Will many of the artists from the scene now (and the past decade) remain years from now? Will we recall song from today’s market the sane way as we do those older classics? Time will tell us the answer, but it is harder for artists to succeed, stand out and create something truly enduring. Dua Lipa is an artist who realises this and does not try to repeat what is already out there. Not only does Dua Lipa ensure that her songs are her own and have that special D.N.A., but she also ensures her videos capture the imagination and stand out. It is hard today, because videos are not necessarily used to market a song quite the same way as they were years ago. Because of that, there is this trouble artists face getting noticed and having a video that will be seen. For big artists like Dua Lipa, they have a solid and loyal fanbase, so it ensures the videos do well. In terms of how Pop is transforming and what defines today’s crop? Early last year, Lipa was asked about Pop and how she would define it:

It’s definitely changed. I think the artists are really the face of the music they make. It’s no longer the genre that dictates it. Artists have a lot more creative leeway, and the number one this week is gonna sound nothing like the number one next week. I think that’s what’s so magical about what’s happening. You never really know what’s going to be the next big thing.

How do you feel like you fit into that new pop landscape then?

Well, I always want to be able to reinvent myself, but in a way that feels authentic to me and something that I can identify with. My idea of pop has been P!nk and Christina Aguilera and Destiny’s Child and Nelly Furtado, but it’s also taking that modern-day twist, where you’re allowed to be a bit more adventurous and you’re allowed to talk about different experiences, personal experiences, which is something that P!nk did so perfectly. I feel in a time like now, you are really able to talk about everything and anything in the hope that somebody might be able to relate to it.

My place? I guess I just want to be able to make music that’s empowering, but I also don’t want to limit myself to being someone that just makes empowering songs. I want to be able to write songs that can also bring you down, and they kind of hurt at some point. It depends how people take it. I just want to play around.

I don’t want to be forgotten. I want to keep releasing music, and not every single song that you release is gonna be like, “Oh, this is the song going to the radio!” It’s just releasing music because you love releasing music, and you love playing around. There’s just so many artists and so much inspiration to be had that’s so brilliant that I think that’s what pop music is, is innovative”.

That desire Dua Lipa has not to be forgotten; this is something that plays on her mind when she launches a song. Her eponymous album of 2017 scored some positive reviews because it was clear she was not necessarily thinking about chart positions but what will resonate and remain. I do think a lot of what she does is aimed at making people feel better and stronger. A lot of artists are quite emotional and their music has that slightly teary edge. That is fine, but it can get a little depressing and it is harder to keep those songs in the head. Dua Lipa’s tracks are defined by energy and spirit. She wants to send out messages and statements and, at the same time, get people moving and together. I want to bring in a couple of interviews, where she was asked about her future material and how she sees her debut. This feature from The Face gives a bit of insight into Dua Lipa’s second album – the fact that it is going in a slightly new direction:

“Back in April, she told her Insta followers that after a predominantly electronic first album, the follow-up is going to have a lot more live instrumentation.

“I feel like you could dance through the whole record,” she says. ​“There’s lots of nostalgic elements to it. There’s a sample in there from the 1930s. It’s just a party”.

I know Prince is an artist who influences her, so will we see something taut, tight and funky for the second album? That would be a breath of fresh air in a Pop scene that is less defined by fun and hooks as it is by a set template and a rather listless sound. Many were attracted to Dua Lipa’s debut album, because it was a varied and personal work. When speaking with Vogue, the songwriter was asked how she feels about her debut:

“Your debut was such a solid pop debut. How do you reflect on Dua Lipa four years later?

“It was such a big part of my life. What I love about that record is that it’s a pop record but it’s so eclectic. I experimented with so many different sounds. My new record is still pop and it is really fun, but it is definitely more conceptual. I had the album title and went from that. After listening to it, it kind of feels like a dancercise class (laughs). I’m not trying to take myself too seriously but as a record it does feel more mature. I’m so excited to get going again. I’m ready! We’re on the countdown now.”

I am slightly ambivalent when it comes to modern Pop because, on the one hand, I know it needs to progress and reflect the modern times, but there is that feeling that artists are too similar and you would need a spectrum analyser to distinguish between those who have the same beats and voices. I know there are so many more artists out now compared to years ago, but there is a lack of originality from the mainstream. I think Dua Lipa, from the start, endeavoured to make something that was her own and tried to shake Pop up. A lot of eyes will be on her next year as she releases (I assume) her second album. Not only is there a lot of expectations; she also has scored some big hits, so there will be the desire from the label to release songs that will be big on the charts. Will this restrict her horizons and temporise her desires?

I am not sure, but it is clear there is a spark and fierceness in the heart of Dua Lipa. She takes no sh*t from anyone and is making music that feels right to her – not what is expected by the media and mainstream. Here is an artist in her twenties whose music has been streamed billions of times. It is obvious 2018 was a defining year for her. Variety ran a feature and spoke with Dua Lipa about her success. So many Pop artists come off as quite ordinary and do not have much of any important to impart. In the interview, Dua Lipa talked about her love of older music and how that is defining her moves. I mentioned how Dua Lipa’s future sounds might be more Disco-tinged. I think we need more of that in the industry. There is this rather depressing shadow being cast by Brexit and world affairs, so music that gets us kicking, singing and dancing is a much-needed thing. It seems like Dua Lipa is an artist who has that passion for the icons:

“They are definitely interesting, nostalgic feelings. I ended up listening to Prince, Outkast, old Gwen Stefani and No Doubt. It sounds like such a crazy clash of styles, but that’s just how I like to do things. Juxtaposition has always been a common factor in everything I do. It’s very ‘me’”.

What grabs a lot of people (when it comes to Dua Lipa) is her voice and how she is not moulding herself to be like anyone else. So many artists have this samey vocal sound, and it does get very boring and worrying. It seems that, at a time when we need Pop to be more energised, interesting and fresh, many artists are not taking chances or going beyond the routine. The Variety article highlighted Dua Lipa’s vocal punch; she talked about modern Pop and the lack of Dance-Pop sounds:

“Critics have rhapsodized over her smoky voice and rhythmic cadences that define the distinctive role she inhabits in the dance-pop genre: a singer whose songs are at once badass and cathartic. But it’s also true that the genre currently has few dedicated practitioners.

“Outside of Ariana Grande, it doesn’t feel like a lot of the established A-list pop stars want to make pure pop/dance music at the moment,” says Chris Booker of KAMP-FM in Los Angeles. Lipa is “doing the right collaborations [Silk City, Calvin Harris] and filling an obvious void”.

Lipa takes themes of emotional conflict and makes them accessible. “I love songs that aren’t necessarily the happiest and putting them to the happiest beat ever so you can actually dance to it,” she says. “‘Dance-crying’ is a term I’ve been using”.

I think (I hope) I have talked enough about Pop and how Dua Lipa is different to many others out there. It is very evident that she has determination and wants to change things. Given that Lipa is a very big star and has accrued so many fans, she does have to deal with social media. This is a subject that is always being discussed and it is something we all need to be aware of. Most of us spend too much time on social media but, for artists, they need to promote their music and rely a lot on followers and promotional platforms like Twitter and Facebook. With that exposure comes a lot of backlash; artists are open to trolling and there are going to be those people who want to criticise and attack. The impact this is having on the mental-health of artists is obvious. I think we do need to do more to ensure artists like Dua Lipa are protected and anyone who does cross the line is banned – we are seeing too many artists being negatively impacted by social media. In this interview, Dua Lipa was asked about the pressure she faces and how she deals with it:

“You’ve achieved so much as a pop star but conversely you must experience an awful lot of pressure too. How do you take care of your mental wellbeing, how do you make sure you’re ok?

“My family and my friends keep me grounded. I’ve also learnt to do social media in bite sizes. Social media has always been around for my generation, so for me it’s really fun to post pictures, tweet and update. But I’ve also received a lot of backlash for talking about political things close to my heart. I’m not one to say sorry, I like to stand by things I believe in, so sometimes I delete the app so I don’t start second guessing myself. Trolls can very easily give you anxiety.

PHOTO CREDIT: Elle 

“The thing that keeps me on social media – and this is more Twitter than Instagram – is my connection with my fans. They’re the reason why I download the app again, so I can talk to them. It’s the foundation that we’ve built everything on. My fans know me so well now that I get messages saying, ‘We know you need some time out from Twitter, we just wanted to tell you we missed you’. It’s like everything in life; it’s about finding and maintaining a healthy balance. You can’t always get it right, but you have to try”.

It is that connection and support she gets from fans that keep her on social media. Dua Lipa says she checks in, but not as frequently as many. It is hard to ween yourself away and there is that sense of addiction. I can only imagine what it is like for a young artist on social media in 2019. I do worry that a lot of pressure is being put on artists and, when it comes to selling their music, they are expected to spend inordinate periods on social media. I do feel like there needs to be barriers and curfews, because so many artists are suffering and finding that their mental wellbeing declines. A lot of artists do burn out or they need time away to recharge. Dua Lipa has a sensible head on her shoulders, and I think she has a pragmatic approach when it comes to social media. In several features, I have talked about women in the industry and how, even  today, we have to discuss parity and whether women are overlooked and why there is sexism. The issue (sadly) is not going anywhere, and so many female artists are subjected to abuse; many others are not booked for festivals or seen as inferior to their male counterparts. Dua Lipa and her contemporaries are speaking out, but the industry needs to do more to ensure that there is balance and progression happens as quickly as possible.

Dua Lipa has spoken about social media and how it can impact artists. She is also someone who wants to see changes in the music industry regarding the way women are perceived and celebrated. Not only are women of all ages provided fewer opportunities than men; more mature women are often consigned to the scrapheap, whereas older men are still exposed and promoted. In this article from The Independent, Dua Lipa spoke about gender and age:     

 “The Brit Award-winner continued by saying that some people are “very hypocritical” before explaining how these kinds of conversations can impact women in the entertainment industry.

“It feels like for men, getting older in an industry is celebrated whereas for women we’re instantly put down because we’re getting older,” Lipa says.

“It’s quite upsetting because why can’t we? As female artists, when we start something in our careers we want longevity and we don’t want ageing to be the reason we stop working or people stop being interested in us. We still have a lot to say and we still have a lot to bring to the table.

“I think it’s a lot to do with the conversations that are being made on social media.”

The One Kiss singer also spoke about how she is seen as a role model for young women, admitting she doesn’t always get things right.

“I will do whatever is in my ability to be able to do what’s right but at the same time I’m also learning and I’m not perfect,” Lipa adds.

“I think that’s something really important for them to remember, that we’re allowed to make mistakes and be ourselves and be young, but at the same time try and set a good example”.

Songs like New Rules are feminist anthems, and the young songwriter has spoken extensively about the #MeToo movement and gender inequality. One other reason why I wanted to focus on Dua Lipa is that she is a role model. Not only will she compel and motivate young women, but she is a good example for any artist. I think men in the music industry are not doing enough to affect change and raise awareness of sexism. I think we should all take a lead from Dua Lipa and her peers and ensure that change happens sooner rather than later. Not your average and processed Pop artist, I feel like Dua Lipa’s musical and familial background plays a role when it comes to her sound and attitude.

I will move on to reviewing Dua Lipa’s new song very soon but, before then, I want to bring in an article from The Guardian from 2018, where they talk about her background and her parents’ struggle:

“Her mother, Anesa, was born to a Kosovan father and a Bosnian mother. In the 90s, war came first to Bosnia, where Anesa’s mother lived, and then to Kosovo, where by now Anesa was living with her fiance, Dukagjin Lipa. Dukagjin was the son of a well-known historian, Seit Lipa, who at that time was the head of the Kosovo Institute of History. When conflict began to brew in Kosovo, Seit’s career abruptly ended. As Lipa tells it: “Once the Serbians came in, they wanted a lot of the historians to rewrite the history of Kosovo. To change it – that Kosovo was always part of Serbia and never part of Yugoslavia. And my grandfather was one of those people who wouldn’t, so he lost his job, because he didn’t want to write a history that he didn’t believe to be true.”

In 1992, Dukagjin and Anesa sought refuge in London, while their parents stayed behind in Kosovo and Bosnia. Seit Lipa died in 1999, the year that the Kosovo war ended. “He had a heart attack. And because the borders were closed, my father couldn’t go back to see him.”

Lipa was born in north-west London in 1995. “I’ve seen my parents work every day of my life,” she says. In Kosovo her father was training to be a dentist, her mother to be a lawyer. Sudden flight to London threw all this over, and for a long time Lipa’s parents worked as waiters in cafes and bars. In the evenings, her father took business courses. Her mother retrained in travel and tourism. “While I was going to school they were going to school”.

I think her parents’ work ethic has affected Dua Lipa and how she approaches music. Her parents worked tirelessly and they never quit. Maybe Dua Lipa wants to get success so, in part, she can repay her parents, but I think their example has touched their daughter and she wants to go far. I already highlighted how Dua Lipa is influenced by artists such as Prince and, when you mix that in with her family background, you have this artist who is going to be someone we remember years from now – quite a feat in this modern landscape! I am not sure when Dua Lipa’s second album is out but, in the absence of new album announcements, she has released a new single. It is time I get down to assessing it.

I would advise people watch the video for Don’t Start Now because, from the very start, it has plenty to recommend. The heroine wrestles with a camera and drops someone – maybe a member of the paparazzi? – and the song then goes into the club. That image of Dua Lipa tangling with someone leads me to believe that personal space is desired. She wants to be left alone or, at the very least, needs more space. She did a “full-180, crazy…” and talks about heartbreak. Did it change her? Maybe. She has ended up on higher ground; a safe plain and it seems like there is this indomitable spirit that cannot be extinguished. I speculated that media attention was what she was rebelling against – maybe it is her ex-lover or something from that romance? Unlike so many of today’s Pop songs, Dua Lipa is trying to make a track that relies more on fun and the beats, rather than a commercial formula and something quite downbeat. I do think a lot of the mainstream has lacked energy and punch and, although she is one of the biggest stars on the planet, I think artists like Taylor Swift lack the power to stay in the head – one listens to the songs and they are not recalled to the mind days down the line. The video has an infectiousness where Dua Lipa is performing and joined by a willing and supportive crowd. It is clear there is this defiance and renewal. Rather than wallow and get down on herself, she is shedding an old skin and looking to the future. I do like a song that has a definite strut and understands the importance of a good chorus. Don’t Start Now has some groaning, grooving bass and a solid beat. The song has this sense of movement and, whilst the chorus is not as emphatic and delirious as some of Pop’s best, it is a revelation in the modern market. There is this precursor to Dua Lipa’s new album; one where her voice and decisions are louder and where she turns the energy and catchiness up.

I liked her debut, but I felt like it was too familiar and similar to a lot of Pop at the time. Here, there is a clash of the new and vintage. You get the sense that Dua Lipa was taking influence from her record collection, rather than trying to fit in with the contemporary scene. Maybe that is just my view, but I can see that step and what we have is a Pop song with Disco edges that everyone can get behind! The heroine sends a clear message to her former beau: if you don’t want to see her dancing with another, then do not show up! In the video, Dua Lipa is enraptured by the music, the sweat and the crowd. Whether the song is based on a real-life relationship – I think she is in a committed relationship, but one can never tell for sure -, or whether it is based in fiction, I am not sure. The sheer conviction of the delivery makes me believe that the former is true. Don’t Start Now is a song that goes through various stages. The chorus is this rush and explosion that brings the heat and energy. The track then cools into more R&B territory and, as Dua Lipa goes from the heat of the club, she is pictured (in the video) is a more stately and stuffy party – one where she probably stands out because she is not dressed to the nines and part of that scene. Maybe the video’s scenes represents the transition from one love to a new life; maybe Dua Lipa is showing that she is not who she used to be and is embracing a different way of life. There is plenty of colour and beautiful imagery as we see Dua Lipa flee the party. One is always hooked by the teasing and hissing beat; the track keeps evolving and pressing, so one will come back to the track again and again.

 PHOTO CREDIT: Erik Madigan Heck

I do like that there are beats that remind one a bit of Daft Punk; almost a whisper of House piano and a sound that is far more organic, ripe and appealing than a lot of the rather tin-like, over-produced and facsimile flavour of Pop – not to label every artist, but one will hear a lot of this circling about. Running in at three minutes, Don’t Start Now is the perfect length and never outstays its welcome. Towards the end, there are strings, pops and fireworks that fives the track plenty of colour and vivacity. Dua Lipa is the heroine who still feels the loss of a past love, but she is moving on and is not going to be defined by that bond. Everyone can relate to the song, and it will register in the hearts of many out there – not just young women either. One of Dua Lipa’s core strengths is her videos and, this time out, she has helped create a very memorable video that intrigues and compels you to watch. It is busy and beautifully shot…and I have watched it a few songs because it is so lively and cinematic. I have been a bit dismissive of modern Pop, but I feel like a lot of my observations hold true. Dua Lipa is definitely one of those artists who wants to make her mark and be around for a very long time to come. I think she will achieve that, because her tracks are very much her own work – even though she works with other writers and producers -, and one can hear something different and nuanced in her music. I think this all bodes well for her second album. I am not sure whether Don’t Start Now will be included in the mix but, considering the hugely positive reception the song has gained, I would be shocked if it was omitted. If you are not familiar with the work of Dua Lipa then I would recommend you give her new track a spin and then work back to her debut album – one can see how far she has come.

 IN THIS PHOTO: Dua Lipa at the 61st annual Grammy Awards (2019)/PHOTO CREDIT: EPA

2018 was, obviously, a very busy and successful year for Dua Lipa. She did well at the BRIT Awards and, not only was she honoured at the Grammys this year, but she performed with St. Vincent. Since the start of 2019, Lipa has been working on new music and touring. There is not a lot of chance to rest when you are a massive star, but let’s hope she gets some time off for Christmas! The awards coming her way are deserved, and I feel 2020 will be an even bigger year for her. Will she command headline slots at big festivals? Maybe it is a bit soon, but I feel Dua Lipa will already been in the mind of Michael and Emily Eavis for Glastonbury; she will get booked for European festivals – who is to say Coachella is out of the question?! Dua Lipa is in Spain as we speak, preparing herself for the MTV Europe Music Awards. Later this month, she heads to the U.A.E. and India, and I think she will wind 2019 down shortly after. It has been a very packed year for Dua Lipa and she continues to go from strength to strength. I am not a massive fan of modern Pop, and I do feel like it lacks the hooks, big choruses and instant memorability of the older tracks. Maybe that is just the way Pop is going and there is that generational divide; those who say Pop is getting worse and those who say it simply moving forward. Whilst I do not have a lot of time for Dua Lipa’s peers, I think she is one of the strongest artists around and is trying to take modern Pop in a much-needed direction. I am not sure how her 2020 is going to begin, but I guess preparations for her second album will continue. I will be genuinely interested seeing how her career develops and what lays in store for her next year. It is hard to succeed today, and I have respect artists who take chances and stand out. That is definitely the case with Dua Lipa. She is a role model for women everywhere and, for those who want to see Pop music lift its spirits and employ a bit more spirit, there is a lot of promise in the heart of Dua Lipa. For that, myself and so many other out there…

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 PHOTO CREDIT: Markus Pritzi

WISH her all the very best.

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Follow Dua Lipa

TRACK REVIEW: Thom Yorke - Last I Heard (…He Was Circling the Drain)

TRACK REVIEW:

 

Thom Yorke

PHOTO CREDIT: Navad Kandar

Last I Heard (…He Was Circling the Drain)

 

9.4/10

 

 

The track, Last I Heard (…He Was Circling the Drain), is available from:

https://www.youtube.com/watch?v=I03xFqbxUp8

GENRE:

Electronic

ORIGIN:

London, U.K.

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The album, ANIMA, is available here:

https://open.spotify.com/album/5a4VSyY7zsfVVqHweYHG7R?si=VgyPaj4dSHqJGvUJf7KOYA

RELEASE DATE:

27th June, 2019

LABEL:

XL

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THIS is a review…

 PHOTO CREDIT: Richard Burbridge

where I am sort of looking back and to the current day at the same time. Whilst Thom Yorke’s album, ANIMA, has been out a few months now, there is a new song/video in the form of Last I Heard (…He Was Circling the Drain) – which gives me a chance to explore an album that I did not feature when it arrived. I will investigate that track in a minute but, before then, I have a few things to cover when it comes to Thom Yorke. I want to talk about artists who work in film and on soundtracks; those, like Yorke, who seem to improve with age and dealing with anxiety through music. I also want to mention music videos and how relevant they are in 2019; the value of music currently and a bit about the environment – quite a bit to pack in! I wanted to start off by exploring film soundtracks, because I am writing a feature at the moment that asks whether modern music is employing enough cinema; whether traits, sounds and tones of film soundtracks/scores are being utilised by today’s artists. Listen to the rich and varied music in film and I think a lot of it can be extrapolated and used by artists. Maybe that does not need to take the form of a sample; more like a case of artists being inspired by a particular sound and bringing that to music. I think film and music are linked and there is that close relationship. I do wonder, as artists like Thom Yorke show their chops in the film world, whether his contemporaries will follow suit. He composed for the 2018 soundtrack, Suspiria, and I think he has said that there are two halves of his career: life before Suspiria and life afterwards. That soundtrack sort of brings in some of the more experimental leanings of Radiohead around Kid A in 2000, but it is, essentially, Yorke stepping into a new world and being allowed that new freedom.

I think film composing allows musicians an opportunity to think in a different way; to take a different approach and they can then bring that into their regular work – I think working on Suspiria motivated a lot of what we hear on ANIMA. Although the two albums have their own tones, there is a big difference between Yorke’s Radiohead cannon and what he has produced on his own. I am mentioning film soundtracks and scores, because Yorke has contributed a song – that he worked on with Red Hot Chili Peppers’ Flea -, Daily Battles, for Edward Norton’s new film, Motherless Brooklyn. Yorke recently performed the song live in the U.S. and, as he wraps up the touring for ANIMA, it makes me wonder what his next steps will be. I think he has a natural flair for film composing and bringing his music to a different audience. PJ Harvey has collaborated with Thom Yorke before – they duetted on Harvey’s 2000 album, Stories From The City, Stories From The Sea -, and Harvey is no stranger when it comes to T.V. and film composition. On BBC Radio 6 Music’s Sound and Vision on Sunday, Harvey talks about Thom Yorke and his Suspiria work; how it is some of the best stuff he has ever come up with. I think it can be liberating and restorative for artists to move into film and T.V. because it makes them think bigger and in a less personal way. Maybe there is a visual stimulus you get from film that you do not get in music generally. I can see Thom Yorke, in years to come, working on film and T.V. scores full-time. He has a natural flair and I think he will inspire other artists to move into the medium. I do think the experience has working on various film soundtracks means he is refreshed and reinvigorated when it comes to plotting a new album. I have a feeling his work on Motherless Brooklyn will have some say on his upcoming work.

Let us move on, as I want to discuss something PJ Harvey said in that Sound and Vision show: Thom Yorke seems to improve with age! I am one of the biggest Radiohead fans around, and I would place their 1995 album, The Bends, in my top-three of all-time. Radiohead are always evolving and, for my money, are one of the best bands there has ever been. I think they have made leaps and seamlessly moved through different phases and stages. One cannot ignore their monumental contribution to music and what impact they have had on other artists. As a solo artist, it must have been intimidating for Yorke to release something without his bandmates. Yorke has not released that many solo albums – ANIMA is his third -, and his debut came out way back in 2006. The Eraser is a fantastic album that gained some glowing reviews; he bettered himself on 2014’s Tomorrow’s Modern Boxes, but ANIMA is his finest solo outing. If you count Suspiria as a true solo outing (rather than a soundtrack) then that means he has produced two masterful albums in two years. I am not sure whether it is his stage of life and event happening around him that have compelled him so; maybe Yorke has found this new vein and voice and he is on a very fruitful path. I cannot wait to see where he heads next and it goes to show that you can never predict artists and define them. I do think there will be other Radiohead albums, but Yorke seems to be in a very productive period on his own. I think his Suspiria album was a bit of an awakening and kick-started the next phase of his career. His solo work before that was great, but he really brought something different to the party on Suspiria. Suspiria – or Suspiria (Music for the Luca Guadagnino Film) – is a horror flick, so that instantly put him in a new world.

 PHOTO CREDIT: Mamadi Doumbouya

He did not really deal much with horror tones in Radiohead (although OK Computer’s Climbing Up the Walls is eerie and intense), so that sparked something. ANIMA is not a horror-based album, yet it does have a dystopian edge and, perhaps, documents the horror and strains of modern-day Britain. There is no denying Yorke is growing stronger and stronger as a solo artist. It makes me excited for future work and where Yorke will go. I wonder, when Radiohead reconvene to the studio, if Yorke’s solo work will impact the band’s work – each member of Radiohead has been doing their own thing away from the band, so we might see a combination of all five and their individual works. I think we live in a time where there is still this immense stock placed on artists who are young and vibrant. Look at what is considered the most relevant and ‘best’ music, and there is this reliance on the trendy and hip. I feel artists tend to get overlooked when they reach a certain age. Although Thom Yorke is only just in his fifties, I do wonder whether many radio stations ignore his music because of his age; not realising that he is releasing some of the best work he has put his voice to. Maybe it is more common with women when we think of ageism, but there are many male artists who get confined to certain stations because they no longer fit a demographic. It is sad this is the case, and I would refer those who define artists by their age to Yorke and his peers; those who are doing sterling work. The young Pop elite might be favoured because they are cool, but musicians like Yorke are putting out work that is more compelling, richer and more memorable. Yorke seems to grow stronger, more inventive and interesting by age. I hope he continues to write and record for many years to come – the music world is so much better with him in it.

 PHOTO CREDIT: Ettore Ferrari/EPA-EFE/REX/Shutterstock

I want to talk about anxiety because it is a subject that is being explored more and more in music. Listen to songs like Last I Heard (…He Was Circling the Drain) and there is are anxious tones and this edgy feeling. Yorke has said, when it comes to ANIMA, he wanted to create something that reflects modern life and, when you listen to the tracks, the anxiety and darker sounds do not make you feel bad. Instead, you are slightly lifted and there is this catharsis. Look at Yorke himself and the man behind the music. Yorke’s wife, Rachel, died in 2016 from cancer. It is obvious that loss had a profound effect on him. Not only has Yorke absorbed the anxiety and division around him, but he has had to face a lot of sadness and tragedy. One might assume this would make him retreat and produce something morbid. Instead, I think Yorke has used music as a way of making sense of things and realises that artists need to discuss anxiety and depression in their music. I will bring in an interview snippet where he mentions that but, before then, I want to source from an interview where Yorke has opened up about the loss of his wife. As NME report, Yorke spoke with The New Yorke Times and talked about the experience:

“Yorke said whilst it was difficult to focus in the immediate aftermath, making music with the support of his Radiohead bandmates helped him to avoid “paralysis” from grief.

Yorke explained: “It was difficult to work after what happened. God bless Nigel and the others for gently pushing me to keep working. If I’d stopped and lost my relationship to anything musical, I really would have lost my [expletive], because I’ve always had that cathartic thing with music.

“Even though in moments of high stress it’s very difficult to connect with music in that cathartic way, what I found was that you do connect. You end up being surprised by music. It catches you unawares. It’s true that you can go through traumatic emotions, and your emotions can become dulled. Your way that you relate to the world becomes difficult.

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PHOTO CREDIT: Beeld Alex Lake 

“You go into a sort of paralysis. But because I kept working, because I kept listening to music, I never felt that paralysis.”

Recently, Yorke also spoke about the grief he and his family faced during an emotional Desert Island Discs interview with Lauren Laverne.

When asked about being a father on his own, Yorke told Laverne: “I can’t hope to be their mum but we’re alright. I’m just really proud of them both. It stuns me most days. I can’t believe they’re anything to do with me. They’re just such great people”.

Whilst ANIMA does not explicitly refer to the loss of his wife, I think Yorke has managed to filter a lot of his feelings and thoughts into his work. I am one of those people who feels that, whilst it is valid talking about anxiety in music, are we living through a time where there is too much of it? By that, I mean is there an emotional balance? Do we have enough uplift in music, or are we resigned to the notion that all is lost? Yorke spoke with The Times earlier in the year and discussed the subject of sadness in music:

“However, I found a quote from a film-maker who said, ‘You know society is in trouble when it rejects sadness in art or music.’ That means it doesn’t want to see where it’s at any more. It is running away. So the more fear people have of expressing this side of what is going on musically, or through film or books, the worse off we will be.”

What is clear is that fans find solace in Yorke’s music. In a letter to one in 1996, he wrote: “The worst feeling is not thinking anybody else feels the same... I hope you are feeling OK today.” That sort of interaction has been a constant, so does he think his music actually makes people happy, rather than sad? “That’s another argument,” he says, nodding. “There’s a melancholy in my voice and some sounds we use, which means certain people hear us in a certain way. But I’m not bothered. I’ve never really got that myself.”

And what does Yorke do to alleviate anxiety? “Me?” he says, shocked, as if nobody ever asks. “Generally, really simple things. Running helps, and yoga is essential to me. Swimming. Physical stuff is really important. And reading a book!” He laughs, and I think of Fitter Happier from OK Computer. “I struggle if I can’t be making music.” Greenwood told me Yorke “devours” music. “It’s an essential part of me. I have to find new things to listen to all the time”.

 PHOTO CREDIT: Richard Burbridge

Thom Yorke has featured in some pretty memorable music videos through the year. I love Radiohead’s Street Spirit (Fade Out), Knives Out; Lotus Flower and Daydreaming; I think there is something magnetic about Yorke when he is on film. When ANIMA was released, it was accompanied by a fifteen-minute film – also titled ANIMA (or you can put it in lower-case if you prefer!) – directed by Paul Thomas Anderson (he also directed Radiohead’s video for Daydreaming and has worked with bands like HAIM). In the film, (I am sourcing from Wikipedia here) Yorke is on a train of uniformed passengers (Not the News). He meets the eye of a woman (Dajana Roncione) and pursues her when she forgets her bag (Traffic). They meet in the street, dance together and board a tram (Dawn Chorus). It is clear Yorke has a very important attachment to the visual – maybe that circles back to his love of film and working in that medium. I do wonder whether the rise in technology means music videos are more or less important than they were. Look at the video for Last I Heard (…He Was Circling the Drain) and it sort of takes you back! The reason I prioritised reviewing Thom Yorke’s single over anything else was a chance to feature the video. It is an animated video and it sort of looks like something Fritz Lang would produce. It is grainy and black-and-white; there are greys and shadows; a series of figures moving on a street. We see an astronauts and aliens. It is a really memorable video and one that you could easily watch multiple times a day and not get bored of! I keep watching the video because it feels like its own entity. I think all great music videos should perfectly score the song, but they also need to work on their own and intrigue. There have been some great music videos released this year, but I feel a lot of artists are more concerned with streaming figures and do not necessarily put that much stock in videos.

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Maybe it is the sheer cost or something else prohibiting explosion and incredible innovation. Maybe there are too many videos that we often miss the very best ones. I will always love the music video, and I think their place is crucial. I think so much of today’s music lacks a physical touch and does not have the ability to connect people. Music videos, years back, became conversation pieces. When music T.V. first came about, there was so much excitement and anticipation when a big video arrived. Often, the visuals themselves were as popular and talked-about as the song itself! There has been a change since platforms like YouTube came in, but I think videos are still really important. As I think about the link between film and music, videos seem to be the way to do that. Artists can give a song a new sense of belonging, life or belonging with a great video. Looking at the haunting shapes and scenes for the Last I Heard (…He Was Circling the Drain), it is beguiling and immersive. Yorke, more than most artists out there, wants to create videos that stay in the mind. Just look at his ANIMA film, and you can feel how involved Yorke is and the fact he wants his music to go beyond the speakers. Not all artists have the same budget as Yorke, but I do think there is scope for most artists to produce videos that are pretty epic. I think one gets a whole new perspective on a song when they see a music video. You can listen on a streaming platform and feel one thing yet gain new insight and emotions when you watch the video. I will move in a second but, if you have not seen the video for Last I Heard (…He Was Circling the Drain), maybe start there rather than streaming the song. I have been thinking, actually, about streaming music and whether artists can survive off of revenue from these sites.

 PHOTO CREDIT: Nick Pickles/Getty Images

I will bring in part of another interview Yorke provided, where he talked about his dislike for streaming and how artists are not paid what they deserve. It is a contentious subject, but one wonders how much streaming services can afford to pay artists, considering so many of us stream music for free. I am a big advocate of people subscribing and paying a regular fee, rather than getting stuff for nothing. I do think artists need to be compensated, because they work hard, and their music should not be out there for free. In terms of music’s ‘value’, do we often get caught up in financial terminology rather than what the listener gets from the music. Yorke answered that question when he was interviewed by The New York Times :

“What we’re talking about is the ultimate value of music. How do you define that value beyond the most simplistic terms of what someone is willing to pay for it?

The value is in the way you encounter music. It was going to a record shop with someone who you think is cool and trying to be as cool as them while they talked about the latest Red Lorry Yellow Lorry  record. It’s being around a friend’s house and putting on a record and talking about it with them. It’s having a girlfriend who’s constantly playing the Velvet Underground, and eventually you believe it’s great, too. The pleasure of discovering stuff like that is why music is so valuable. I guess we’re lucky that there are so many ways to discover music now, but at the same time I feel that “If you like this, you’ll love this” or “share this” is commodifying a deeply personal human experience between people. That experience is why music matters, because the experience stays with you forever”.

I should move on now and review Last I Heard (…He Was Circling the Drain), as it is a remarkable song and one of the (many) jewels from ANIMA.

 PHOTO CREDIT: Navad Kandar

With music composed alongside producer Nigel Godrich, Last I Heard (…He Was Circling the Drain) grabs you from the very start. Yorke said, concerning ANIMA’s themes, he wanted to explore dystopia and anxiety; a way of expressing these themes in a creative way. With odd pulse, frequencies and imagination, Last I Heard (…He Was Circling the Drain) begins with gentle-yet-brooding electronics that sounds space-like and alien. If you watch the video alongside the song, that description is apt – as there is an aerial shot of debris falling through the sky. Yorke has always been moved by dreams and what they represent. I am one of these people who knows dreams are the way for the unconscious mind to work out things it was unable to do during the day. Most of us have really random dreams, and I have never really bought into symbolism and dreams having hidden meanings. That said, I think Yorke’s study of dreams and sleep has been a big part of his music for many years – more pronounced over the past few years, I would say. With his voice almost still and asleep, there is something strangely tender and resigned when he sings “I woke up with a feeling I just could not take”. Yorke has multitracked his voice so that we have layers and the same line overlapping. It creates this semi-somnambulistic chorus that creates this state of flight, disorder and dreaming. When we get to the first verse, a lot of the background fades and Yorke’s voice is more in the fore; less dreamy and sterner. When singing “Taken out with the trash/Swimming through the gutter”, you get the feeling of this man intimidating by the rush of modern life and being squashed. As the verse continues, Yorke sings about being swallowed by the city where there are “Humans the size of rats”. In a place where opportunity cracks and opportunity, it seems, stutters, Yorke is navigating this rough terrain and bringing the listener with him.

 PHOTO CREDIT: Killian Young

I love all the electronic stutters and buzzes as Yorke sings. You get the sense of a swarm of ants or a buzzing neon horizon. It is hard to place, but it adds so much atmosphere. This city life and busy rush is a feeling that Yorke cannot take. In one of the song’s most beautiful and emotional moments, Yorke delivers that line “I woke up with a feeling I just could not take”. It is this repeated thought and, when he sings, you believe every syllable and note. Almost as if Yorke was wrestling his stress and then fell asleep, the song transitions from the visions of chaos and crowds through to something that is more abstract or detached, perhaps. Yorke talks of “Walking in high heels” and “Breaking in your high heels”, which project two very different images! At once, you wonder what these lines refer to and whether this is Yorke in more romantic territory or letting his dream-busy mind take over. It is a wonderful twist from visions that stirred impressions of waking nightmares. Yorke, it seems, has tried hard to leave and break away. I am not certain whether he is referring to a relationship or holding on to memories; maybe he is trying to avoid the pressure of modern life but escaping into recollections. The more you listen to Last I Heard (…He Was Circling the Drain), the more you look in different directions. The song’s title comes to mind and I wonder whether Yorke is referencing someone who is on their deathbed and not long for the world. Everyone will have their own interpretations, and I have looked at various interviews and can’t see anything where Yorke explains the lyrics and meaning. After a few spins, I have started to build a storyline and concept but, like all great songs, new angles occur from time to time. Last I Heard (…He Was Circling the Drain) is one of the best songs Thom Yorke has released as a solo artist. ANIMA is a fantastic album stuffed with treasure. I love the video for Last I Heard (…He Was Circling the Drain) because it provides striking visuals that give you a feel of the song without giving away its real truth and secrets.

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I didn’t get much time to discuss the environmental impact of touring earlier in this piece. Thom Yorke has been vocal about the environmental cost of touring for years now, and has addressed the fact that he flies and is contributing to that damage. Yorke is a keen supporter of Extinction Rebellion and cannot do too much when it comes to his carbon footprint and touring. It is hard to protest against climate change and, as someone who needs to fly, answer those who highlight the hypocrisy. Musicians have very little choice when they are travelling long distances, but I do think Yorke’s considered awareness of climate change and touring might change things in the industry regarding the number of dates an artist plays and how they travel. If you need to take a plane, think about playing as many dates as possible in a certain area rather than one or two and needlessly going back and forth. That being said, Yorke has some tour dates coming up, but he is among a band of artists who are doing all they can to highlight climate change and how we can all do our bit. I was eager to review a track from ANIMA and sort of missed out when the album arrived earlier in the year – I am not sure what I was reviewing, but now seemed like a good time to get on it, what with a new video out in the world! Make sure you check out Last I Heard (…He Was Circling the Drain), as it is a wonderful song and comes with that utterly engrossing and unusual video. Go grab a copy of ANIMA, as it is one of this year’s strongest and most interesting records. On a side note: if you have not heard Thom Yorke’s Desert Island Discs episode from a few weeks back, then do check in with it, as he discusses his recent music and a lot of other cool stuff. There are a lot of great and inspiring artists in the world, but Thom Yorke is very much…

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A master in this own league.

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Follow Thom Yorke

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TRACK REVIEW: Kanye West - Closed on Sunday

TRACK REVIEW:

 

Kanye West

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PHOTO CREDIT: Galerie Buchholz

Closed on Sunday

 

8.8/10

 

 

The track, Closed on Sunday, is available from:

https://www.youtube.com/watch?v=Lp0q1wWe6XI

GENRES:

Gospel/Hip-Hop

ORIGIN:

Chicago/Los Angeles, U.S.A.

The album, JESUS IS KING, is available here:

https://open.spotify.com/album/0FgZKfoU2Br5sHOfvZKTI9?si=z8HObXERQIOoSdoK-S65Bw

RELEASE DATE:

25th October, 2019

LABELS:

GOOD Music, Def Jam Recordings

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THERE are artists and tracks…

that have been released this week that are bigger and better. I am a fan of Kanye West’s earlier albums; when he was shaping into this Hip-Hop pioneer and really shaking things up. Consider albums like The College Dropout (2004) and the impact that had. There have been few more revelatory and influential Hip-Hop albums over the past couple of decades. I wanted to talk about Kanye West’s latest album because, for him, it is a move in a different direction. I want to look at West and the image he projects; his spirituality and Gospel music in general. I also want to document mental illness and how, in some ways, West is raising awareness and helping others. I want to finish off by talking about West as a Hip-Hop icon who, love him or loathe him, produces music that is original, bold and important. I will start off by talking about how many people perceive Kanye West. I am going to bring in a few articles that talk about West’s chat with Zane Lowe recently – the two talked for his Apple Music’s Beats 1 show. When you hear West speak, you get some wisdom and depth, but there is also a lot of confusion and controversy. I do think artists like West are being revered by young listeners and acting as a role model. There are many who will look at West as a role model and want to follow what he does. I know a lot of Hip-Hop artists have a confidence that borders on arrogance. It seems to be part of the genre. There is a line between braggadocio and offence; a difference between those who are trying to stir things up a bit and artists who go a bit too far. One can say that part of Kanye West’s game and image is him saying what he wants. He is a supporter of President Trump and has made no secret of that. When he spoke with Zane Lowe recently, West was asked about his affiliation with Donald Trump; West was not shy when it came to hubris:

 “West also brought up President Donald Trump and wearing a MAGA hat. “Give me some other examples where someone is saying what isn’t culturally what you're supposed to say,” he asked Zane Lowe, referring to Trump. “Give me an example where someone is saying what you're not supposed to say. You don’t want to say it, do you liberal?”

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PHOTO CREDIT: Mario Sorrenti 

After that, West said:

God is funny. Drake lives four blocks down the street from me. So that shows you that God has a sense of humor. Now, liberals love art, right?

And now—I am unquestionably, undoubtedly, the greatest human artist of all time. It’s not even a question at this point. It’s just a fact. For the greatest artist in human existence to put a red hat on was God’s practical joke to all liberals. Like, Nooo, not Kanye!”.

You can look at those remarks and brush them off as this artist being cocky and trying to get attention. Whilst West can be brushed off a lot of times, it seems that, more and more, he is in the news because of his remarks, rather than his music. His new album, JESUS IS KING, has some brilliant moments, but it has drawn some criticism – many say it lacks real punch; West does not fully embrace spirituality and it is not as bold as it could have been. I do wonder whether the Hip-Hop pioneer has already peaked and he will be able to hit the same sort of highs he did years ago. This is not the first time West has courted controversy or been pulled up because of something he said. You only need to do a quick Google search to see some of the other remarks he has made and it does take you back! Maybe it links into mental illness – which I shall come to later -, but I do think West is sending out so many bad messages. His music is interesting and worthy of appreciation. There are artists out there who follow him closely and one cannot deny the fact West has released some sensational music. I do hope his new faith and commitment means he will be a bit wiser when it comes to speaking out. West can act as a positive role model and actually make a difference in the world. It is a shame that so much of his reputation and legacy exists in something quite uncomfortable and off-putting. I shall revisit this theme later in the review.

 PHOTO CREDIT: Taylor Hill/Getty Images

There are a lot of great artists out there, but I wonder how often we hear anything spiritual. I think there is a difference between the religious and spiritual. One can sing about spirituality and a sense of inner-freedom without mentioning God. I feel music is going through changes at the moment, but there is very little in the way of the spiritual. I do think urgency and reflection of political division is important today; maybe artists are not branching out as much. I am not religious myself. I love music that does have a depth and beauty that touches the senses. In these hectic and troubled times, I think everyone could do with a bit more spirituality and wellness in music. I am not suggesting we are all meditative and put in this sort of trance. Rather, we could have music that has this rare grace and purity that makes one feel better, more enlightened and calm. That would be no bad thing, for sure. Right now, there is a lot of anger and confusion about. Artists are doing the best they can to represent modern life and speak the truth. It can get a bit heavy, and one does need a moment to unwind and discover some form of beauty and higher plain. I want to bring in an article from earlier in the year, where it highlights West’s plans to open a church. It is clear that something has changed in his life. He has this spiritual side and wants to explore this in a more open and real way:

 “On the show his wife Kim Kardashian-West explained that they began because Kanye wanted to plant a church.

“The last few years Kanye has always said that he wanted to start a church,” she said. “So he just started it for his close friends and family.”

Kanye explained, “I had the idea of making a church before but I really was sketching it out. Then in 2019, I was like I’m not letting a Sunday go by without making this.”

Kanye said that at this point he doesn’t plan on getting a pastor involved, but he is interested in improving the experience. He said on the show “We just got to take some time and keep growing and make it better.”

He suggested that his services could start incorporating more traditional church elements, like hymnals or song lyrics on a screen. Oh yeah, and he wants to encourage people to start bringing their Bibles. He said, “We going to start laying it out where you can know the songs, we’re going to have the words and for people to just bring their Bibles”.

For those out there such as myself who are non-religious and do not really look for faith in music, I do think we could all be a little more broad-minded. I am not saying that involves believing in God – as there would be no point -, but maybe adopting a mindful approach; perhaps exploring music and thoughts that are different to what we are used to. As I said earlier, there is a clear difference between the spiritual and religious. Look at classic Soul artists such as Aretha Franklin, and they were very much moved by the spiritual. Although God does make it into the pages of the songbooks of the greats, I think the soul and a sense of belief is more prevalent. When it comes to Kanye West’s new album, he is very much bringing Gospel music to the fore. There is always going to be that struggle ‘selling’ religion to a music world that is largely secular. I have reviewed a Christian Rock band before, years ago, and did find that the religious content was actually quiet sparse and there was a lot to recommend. One does not have to be a believer, necessarily, to enjoy genres like Christian Rock or Gospel. Maybe we have built up this impression of what to expect and the fact it will be quite preachy and unappealing. It is brave when a big artist like Kanye West departs from genres like Hip-Hop and Rap and makes this big career move.

 PHOTO CREDIT: Marc Piasecki

I do think this move is one he needs to take, considering some of his troubles and the fact he needs some guidance and direction. Maybe God will not give him the answers – as he doesn’t exist -, but the fact he is dedicating himself to something loving and community-based is a good thing. Look at Hip-Hop and there is still a big problem with drugs and violence. It would be a harsh stereotype to say the genre is dogged with controversy and trouble. There are still some big issues, and there is a lot of improvement to be made. There is still a problem with misogyny and sexism; there is violence and bad message portrayed in certain songs. Whilst improvements have been made and progression is happening, I do feel like there is a way to go. One could question just how committed West is to his new path of enlightenment. When they were assessing JESUS IS KING, Pitchfork remarked how, perhaps, little has changed:

“They say we should separate church and state, but nobody ever said we couldn’t unite church and the Supreme store. With “On God,” the fifth track from Kanye West’s gospel-infused album Jesus Is King, the Chicago rapper sets out to make an anthem for pastors with a pair of Off-White VaporMaxes in the closet of their multimillion-dollar homes. Kanye wants us to think he’s a new man—no more cursing or Grammy worship—though a close look at this song’s lyrics prove that he hasn’t changed much. “Thirteenth Amendment, gotta end it, that’s on me,” he says, wading back into the controversy about slavery that he ignited last year without really clarifying anything. Elsewhere, he blames the exorbitantly high prices of his sneakers on the IRS and because he “can’t be out here dancin’ with the stars.” It’s self-sacrifice at its most self-absorbed”.

It is not going to be a quick change, this road to betterment. I don’t think it would be fair to accuse West of exploiting religion or this (his new faith) being a hype move.

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He definitely is trying to turn over a new leaf, but it seems like he has not lost his Hip-Hop spirit. Maybe he has hit upon a new genre? I am not sure, but he has definitely transcended an old way of working and thinking. Maybe there is this feeling that West’s best work is behind him and he has lost some focus. Whatever you think of his new music, it is clear religion and God is keen on West’s mind. Before moving on, I want to bring in another exert from the interview West gave to Zane Lowe. He talked about his family and spiritual side:

“On His Spirituality and Relationship With Family: "A smart man has the ability to pivot to say i think something different now. I don't think this because it's the culture. I don't think North should wear crop tops just because I had her wearing a slip dress when she was 2-years-old. I think and feel differently now, now that I'm Christian, now that I'm founder of a 3 billion dollar organization and married for five years."

"What I have learned from five years of marriage is it is the greatest bond. It is God bond to be able have someone that you can call on, someone you can call out, someone call you out, equally yolked, someone to complain to and someone to grow with as we grow and raise our children."

"I started giving myself two curses a day, like it's a video game. People say God doesn't have scorecard, [I] gave myself Christian scorecard. Get on the phone, 'I'm like man they bout to lower my Christian scorecard".

I applaud West for being very open about religion because, as I said, music is not really overloaded with artists who are talking about faith. Gospel music is not a big a part of music as it was. We do not hear many songs that espouse faith and affirmative messages. Whilst Gospel music will never be in vogue and in the mainstream, it raises a question regarding today’s music: Are things too secular? When it came to older Soul and R&B, there was more of a place for religion and different faiths. I feel we have become more closed-off to religion and it struggles on the outskirts. Surely, if we are aiming for equality and broadness in music – from sexuality to race -, we need to think about faith.

 PHOTO CREDIT: Patrick Demarchelier

I will talk about a song from Kanye West’s new album soon but, before then, I want to talk about a very important side of West’s reputation. There is no secret that Kanye West has lived with mental illness for a long time. Whilst we cannot right off every misguided thing West says to his illness, one cannot judge him too harsh. He is bipolar and, as is typical with a lot of sufferers, they can be reckless, be outspoken and take big risks. If you are an artist as big as Kanye West, that is exacerbated; you are always in the spotlight and it can be very difficult to find stability and quiet. Maybe his new comments about being the greatest human around is him being a bit of a cock. Again, you can bring a line in that splits mental illness and rational excuse and someone being arrogant and looking for press. I do think that artists like Kanye West are helping remove stigma that is attached to mental illness. We are in an age where there is still not enough conversation and understanding. Many people are reluctant to open up dialogue. For those who live with mental illness, it is not always easy to talk and be honest. I can only imagine how hard it is for a popular artist to be frank when it comes to mental-health. They are helping a lot of people, yes, but there is that tabloid focus and there will be some out there who judge and scorn. In a recent feature with David Letterman, West talked about his bipolar disorder and the affect it has on him:

“David Letterman’s ‘My Next Guest Needs No Introduction’, premiering on Netflix May 31st

Comparing bipolar disorder to a "strained brain", Kanye explained his experience of a typical "episode": “Everyone — this is my experience, other people have different experiences — everyone now is an actor. Everything’s a conspiracy. You feel the government is putting chips in your head. You feel you’re being recorded. You feel all these things. You have this moment [where] you feel everyone wants to kill you. You pretty much don’t trust anyone.” West went on to infer his bipolar disorder might have been the cause of past controversies – “If you don’t take medication every day to keep you at a certain state […] you start acting erratic, as TMZ would put it”, referencing his much-maligned interview with TMZ in May last year where he said that "slavery is a choice".

PHOTO CREDIT: Roy Rochlin/Getty Image

West spoke about the wide-ranging effects of mental health problems, highlighting their prevalence in the general population and the impact of modern stresses on us all: “We're all dealing with mental health”, said Kanye. “We're, like, completely bullied by the media, both celebrities and the masses, to think certain things and have group thought. Like, 'Oh yeah, damn right we're going crazy'." Representation – the power of seeing your own struggles shared by personalities in the public eye – is invaluable. As Kanye noted in interview, he’s “the most famous person with [bipolar disorder]”: much misunderstood, highly stigmatised, the condition is leant new light and understanding by West’s candour. Bipolar UK estimates that as much as 5% of the population is on the ‘bipolar spectrum’ – if you don’t suffer personally, then, you certainly know someone who does (whether they’re open about it or not.) Thanks to Kanye, the world at large is joining a conversation previously held behind closed doors”.

I do have some sympathy for Kanye West, because he does have to carry mental illness and also has this huge legacy. He must have this pressure to succeed, to keep pushing himself and be the very best. For some artists, that would be too much strain and expectation. One assumes that all the riches and rewards he has in life would make that better. Conversely, that can be a crutch and an emptiness that does nothing to help. I know there are people in the world who hear West talking about his mental well-being and they will take heart. Someone that popular and famous could hide a way and not want to discuss something as weighty and personal. Whatever you think of West, he is being brave and making a difference to people. Some could say that, again, he might be looking for attention and he just likes talking about himself – I would not entertain some cynicism! There are a lot of controversial sides to Kanye West and, whilst JESUS IS KING might not be to everyone’s taste, you cannot deny the role West has played when it comes to moving Hip-Hop on and invigorating the next generation.

When it comes to poisoners, there are few as powerful and important as West. In this article, the writer talks about Kanye West rocking up and altering the path of Hip-Hop:

 “Hip-hop in the early 2000’s revolved around the so-called ‘Timbaland sound’, a style that favored beats with scattered drums and digital keyboards. But by incorporating more soulful samples into The Blueprint, the album’s production sparked a shift back to more sample-reliant sounds within the hip-hop industry.

As writer Del F. Cowie states, “[Blueprint caused] the reign of the digitally cold keyboard-driven production style [to be] dislodged as the predominant sound.” The Blueprint helped cause a revival in the use of samples as the basis of production, and Ye was a big reason why.

In this era, it seemed that there was no place for observation on topics such as religion, family, prejudice and materialism; that is until Kanye stepped into the void. Kanye’s debut album, The College Dropout, had its greatest impact in changing the rules of what a hip-hop artist has to be like.

In referring to the album’s lyrical content and his character, Kanye once said, “My persona is that I’m the regular person. Just think about whatever you’ve been through in the past week, and I have a song about that on my album.” This stance of appointing himself in direct relation to the listener, as opposed to the drastic divide many of the bling-era rappers painted, represented a substantial change in how relatable a successful rapper could be.

The traditional rules within hip-hop tended to denounce any artist that connected even a little with their sensitive side, with there being huge pressure to maintain a sense of street cred by appearing ‘gangster’. Kanye went against this tradition and opened up the boundaries of hip-hop to include tales of being heartbroken, of pining over an ex, of wondering if you can ever get it all back together”.

 PHOTO CREDIT: Forbes

There is something quite enticing when Closed on Sunday starts. I think this song is about taking a day off and actually detaching from social media and the usual chaos for open day of the week. Many do that by going to church and, from the off, there is this choral hum and sense of uplift. It is a beautiful sound, and one does not know where the track is heading. West does not come in with swagger and the usual sense of confidence. Instead, he is proffering a sense of family and peace – although that can be quite deceiving for a first impression. Put away the Instagram and selfies; hold hands with loved ones and pray. I wonder whether he is simply advocating prayer and family time or whether there is something more foreboding in his words – maybe the curse of modern technology and how disconnected we are. West talks about “vipers” and how they can “indoctrinate”. Maybe he is referring to politicians but, as he is a Trump man, is takes on a rather sour tone. I think the words are aimed more at those who try to control and lead by lies. Those who have reviewed Closed on Sunday ask whether the religious imagery and proclamations are halfhearted and what West is aiming for. In the opening verse, he refers to the desire for families to be together and give thanks to God. By keeping pretty cool and delivering this very focused and (almost) soulful vocal, the words do resonate. West puts emotion into the lines, and it is hard to argue against the meaning and truth of the words. I do think he is fearful of modern society and how we are being led astray by technology and politics. In this age, is religion and the church a way to bond? West highlights how we are no-one’s slaves and, for families, they need to raise their sons to obey. As the second verse comes in, West talks about standing up for his home and walking a road alone.

The song’s pace hardly changes and, for those who prefer a more freewheelin’ West, they might be disappointed. Instead, we get a song that is more like a sermon. Perhaps it is less fired and passionate than your normal one, but there is this sense of feeling and determination in his voice. West has, it seems, given his life to God and is no longer his own man. Whether this means West was looking for strength at an unsure time or he sees himself as a God-like figure, I am not so sure. It is clear that celebrity and mental illness have taken a toll and, maybe, putting his life in the hands of a higher power has been constructive and given him fresh lease. For those who want to see whether West has been reborn and transformed, you just need to listen to Closed on Sunday to realise there is still that Hip-Hop confidence in him. Rather than provide this joyful lift and celebratory tone, the song does have this feeling that West is serving himself and not looking at the wider world. Perhaps, even when he is being devout, there is this focus on his own path and feelings. The song does get more intense and you can hear greater strength and fight come into the fray. I really like Closed on Sunday and feel like it is a needed evolution and departure for an artist who is among the most inventive out there. The lack of beats and the brash on the song might mean some of his older fans will take a while to adjust. Closed on Sunday is only one side of the story. In this personal New Testament, West is exploring faith and trying to be a better person. There will always be doubters out there who query his new lease and sense of focus. I do think the JESUS IS KING album needs more time to settle, because it has been delayed and there has been so much hype around. I am not the biggest Kanye West fan around, but there is plenty to recommend when it comes to Closed on Sunday – and the JESUS IS KING album as a whole.      

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 PHOTO CREDIT: Ray Tamarra/Getty Images

I have talked a lot about Kanye West and why he divides people. He is never boring, and he is an artist who is moving forward and changing things up. Maybe West has not completely shed his old skin and moved away from the sort of lyrics and descriptions that defined his previous work. There is, of course, plenty of mention to God and faith, but many have questioned whether God is being praised rather than used as a very commercial way. How committed is West to religion and enlightenment? One has their own opinions, but I do think West could change his life and find greater peace through religion. I am not religious myself, but never criticise anyone that has belief. It can provide great strength and direction when things are bad. In terms of the music, it would have been hard to put out a pure Gospel album or something that was entirely religious. There are few artists who integrate Hip-Hop and Gospel elements to such effect. Maybe JESUS IS KING is just the first step to a turnaround and new sound. It would be interesting seeing where West goes next and what he has planned. I don’t think there are immediate plans when it comes to touring. You never know with West, so you can never say never! Keep your eyes peeled and I am sure there will be something announced fairly soon. JESUS IS KING is one of his most divisive albums, but I do think it is a transitioning to a new sound for him. Maybe future albums will be more focused and committed. We can only hope. I did want to write about Closed on Sunday, because it is a really interesting song and one that warrants exploration. I shall leave things here, but I would recommend people get a copy of Jesus Is King, as it has some great moments and brilliant tracks. I feel West is trying to be a less controversial figure. If religion is the way to do it, one cannot fault his desire. West will always say silly things and he is never going to deflate his ego entirely. I hope Jesus Is King is the first step towards some…

 PHOTO CREDIT: Roy Rochlin/Getty Images

NECESSARY and big changes.

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Follow Kanye West

TRACK REVIEW: Anna Meredith - Ribbons

TRACK REVIEW:

 

Anna Meredith

Ribbons

 

9.5/10

 

 

The track, Ribbons, is available from:

https://www.youtube.com/watch?v=c5D3lMh78DY

GENRES:

Electronic/Modern Classic/Acoustic

ORIGIN:

London/Scotland, U.K.

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The album, FIBS, is available here:

https://annahmeredith.bandcamp.com/album/fibs

RELEASE DATE:

25th October, 2019

LABELS:

Moshi Moshi/Black Prince Fury

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I was going to review the new album…

 PHOTO CREDIT: Leah Henson for The Skinny

from Josh Homme and his crew - Desert Sessions, Vol. 11/12 is a magnificent album. I might shelve that until tomorrow, because it is quite hard to get photos of the full band; they consist various musicians and figures and, whilst led by Josh Homme, there are others in the mix. Instead, with FIBS out in the world, I want to concentrate on the sensational Anna Meredith. Before I focus on a review of Ribbons – my favourite track from the album -, I want to talk about a few different things. I will discuss artists and how they progress/evolve; putting focus away from mainstream acts and looking at areas of the U.K. still overlooked. I will also address female composers and artists who are acting as role models; Classic and Electronic music for the young and a sense of joy and energy in the music industry – and how it is really needed right now. Like many out there, Anna Meredith is synonymous with her incredible compositions. She mixes Electronic music into an album Classical world; making these grand and exotic songs that spark the mind. Varmints was released in 2016 and it is one of these albums that needs to be listened to. If you are fresh to Electronic music, then it might seem a little brash, experimental and strange. I grant that, but when it was released a few years back, I had never heard anything like it! It was a true eye-opener for someone like me. Great artists like Meredith are always moving and looking to see where they can go next. FIBS is an album that puts Meredith’s voice more to the fore. If Varmints was an album defined by a sense of drama and compositional busyness, FIBS is a little looser; it has more light and colour working away. Meredith is a great singer, and, on her new album, she has recorded some of her finest tracks.

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When speaking with Vanity Fair recently, she talked about FIBS and the changes she encountered:

“She started thinking about making Fibs a few years ago, but got sidetracked by other opportunities that kept her busy. “I’ve lost the ability to relax. I just sort of feel completely wired the entire time, where I’m sort of manically jumping from one thing to another,” she said. “But I think that I work best when I’m busy.” After she toured for her debut album, 2016’s Varmints, she took on a slew of commissions and collaborative work, including her sprightly and memorable score for last year’s film Eighth Grade. “I was ready to keep going, and then just cool stuff came up—with the film, and I wrote a big orchestral thing. I just kept putting it off to do other stuff,” she said. “But when I’m writing, it means I’m just in the studio or chained to my desk, and I’m not touring.” Recording really started last October and November, partially with the goal of getting back out into the world to perform once she was done.

But she’s also had to grow her confidence in her own abilities as a performer. “I’ve always loved singing, but I never thought I had a lead-singer voice,” she said. “For a while, I thought, Oh, the thing to do is to get someone else on this. But now it actually feels more important to be authentic and say that this is who all these people are. This is the music we love, and this is how we sound doing it”

You would be hard-pressed to compare FIBS to Meredith’s past works. Meredith has always been this engaging and terrific live performer, but FIBS alters things, in the sense Meredith is sort of more at the centre; her vocals will be a big part of her set. I wonder why she decided to put her voice more into the mix. I am not sure, but it was a great decision and it moves Meredith’s music forward. I do think it is savvy and sensible moving your music on and trying something different. If FIBS was a big album with very few vocals, I don’t think it would be as remarkable as one that puts Meredith in the fore.

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Although Meredith was born in London, she moved to South Queensferry at the age of two. She is one of these artists that is still so young; yet has done so much already. Not only does she have a degree in Music, but she has as master’s degree from the Royal College of Music. I think too many of us, as I have explained in reviews, get too caught up in our habits and personal tastes. Do we spend time looking away from our comfort zone and embrace something new? Some of us do, but I think too many are resigned to their usual routines. I am guilty of this, and I am trying to change my ways. I got into Meredith’s music a couple of years back and have loved exploring her enormously impressive and immersive sound. A lot of the music I listen to sort of sinks into the mind and provides cheer. I rarely think about the song itself and how it came together. With Meredith, I listen to her music and consider how it started life and how it sort of got to where it is. Rather than just pass it by, the music is engrossing and spellbinding. As a result of this more forensic approach, I have been listening to a lot of Electronic music and actually rekindling a passion for Classical. I used to listen a lot when I was younger but sort of put it aside when I got older. It is a shame, because I think we assume Classical music is all the same and it is a bit dull. That has never been the case, yet I can understand why some might avoid the genre. Now, there are some wonderful composers and innovators taking the form to new places. Anna Meredith is, as I shall explain later, is this accomplished composer who is inspiring others and making Electronic and Classical music more accessible and nuanced.

I do think there is a lot of great new music out there from the genres, and many of us are missing out. We do need to let go of the safe and comforting; take a little look around the musical hemisphere and start dipping our toes into the water of difference. That may seem patronising, but how many of us genuinely take leaps or listen to music that we would not normally do so?! I think a lot of us are culpable. Meredith is part of a generation that is taking music to new heights. FIBS has already received a load of positive reviews and, whilst its creator is stunned and moved by the kind words, it is no surprise FIBS is garnering such heady acclaim. I think so many genres are getting stiff and there is not enough exploration and endeavour. Some artists do mix it up but, when we consider Anna Meredith, she is pushing boundaries and blowing the mind. This is a strained and tense time and, when you listen to Anna Meredith’s strange and beautiful brews, you are comforted, lifted and inspired. In a press release, Anna Meredith described FIBS as: “lies – but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. That sounds about right. Rather than create escapism and distract us from the world around, we are given these songs that tracks that are powerful and potent, but they provide a smile, kiss and cushion against the vicissitudes of modern life. I also wanted to review Anna Meredith because of her Scottish roots. I still think the nation gets overlooked regarding music. It is a shame because, when you look back, so many classic acts have called Scotland home. Whilst Meredith started life in England, I associate her as a Scottish artist. She has worked with musicians and orchestras in her country, and she is helping to bring more eyes and ears to a rich and stunning nation.

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I will get to reviewing Meredith’s FIBS – or a song from it, more accurately -, but I want to talk about female composers and how changes are starting to happen. Look back at her career, and she has already packed so much in! Meredith mixes acoustic and electric tones like nobody else. She is one of these composers that is impossible to define and categorise. She has seen her work performed at the BBC Last Night of the Proms and been featured in numerous films and festivals. Her music transcends borders and limits. She has been featured right across BBC radio; had her music played at fashion shows and clubs and, like no other artists around, straddled worlds and cultures. There are few artists alive today that have such a wide-ranging appeal and can stand out so firmly – I can only think of Kate Bush right now. She is published by a new partnership between Warp Publishing & Faber Music Publishing, and she is one of the first Somerset House Studios Residents. She has been Composer in Residence with the BBC Scottish Symphony Orchestra, RPS/PRS Composer in the House with Sinfonia ViVA; the Classical music representative for the 2009 South Bank Show Breakthrough Award and winner of the 2010 Paul Hamlyn Award for Composers. Meredith is still so young, and there is no telling just how far she can go. As a composer and innovator, she is opening doors for artists coming through and inspiring so many people. Although Meredith has achieved so much and is a much-celebrated artist, we are still living in a time when female composers are overlooked. Electronic and Classical music are fields where women are not as represented and exposed as they should be in terms of their commitment and talent. Before bringing in an interview where Meredith is asked about gender in music, I want to introduce a feature, where Meredith’s clear gifts and brilliance is spotlighted:

“Composer, producer and performer Anna Meredith is considered one of the most innovative voices in contemporary British music. Her work travels seamlessly across genres, from contemporary classical to art pop, electronica and experimental rock. “She is somebody who has rewritten the rulebook” said Helen Wallace, Programme Director at Kings Place, whose new season focuses on women composers and has Meredith as one of their cover stars.

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PHOTO CREDIT: Gem Harris 

This organic process also translates in the way Meredith creates, by drawing the graphic structure that she wants her score to take. “I always felt music quite instinctively,” she explains, “and I always liked music that has a very clear shape to it, a clear identity. It took me a long time to figure out that [drawing] was a helpful way to plan composing. It wasn’t until I was doing my postgrad that someone suggested drawing a sort-of map for the piece, and I have done that ever since. I have the shape that I am trying to make work, and I try to audition my own ideas to fit into that shape."

Meredith worked on several sound installations around the world. Among her favourites is one she made as part of Music for a Busy City, a project for the Manchester International Festival. Set in a shopping centre, it used two glass lifts as a medium to make music: electronic tones changed according to their movements, and choosing floors created different harmonies, in what Meredith described as a "chorale for lifts". “I really liked doing the installation work that I have done, because you have to distill an idea down to something very focused, and if it’s very site specific," she says. "If you are trying to make a particular area, I like to be in that area and think how I could enhance or change or subvert the experience of being there. I think it is a nice way to let people dip in and out of something musical. I loved the lift piece, because it was playful and you could just chance across it, and I think that combination of people intentionally visiting and people simply doing their shopping is a really nice one”.

Whilst there are wonderful artists like Anna Meredith around, she is working in genres where men are more revered and considered.

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 PHOTO CREDIT: Gem Harris

She was asked about Classical concerts and the fact they are male-dominated still.  

“It’s no surprise that concert programmes are still dominated by male composers. Surely we should be moving on? Are quotas essential, or irritating?

It’s healthy to have the discussion. Things are changing. Weighting a programme towards greater female or sexual or racial diversity – composers, conductors, performers – has to be progress. We still need mechanisms for pushing us towards a more naturally balanced state. But that takes time to happen naturally and spontaneously. Yes, it’s annoying, I guess, to be told, when you get a job, “and it’s great you’re a woman”, but I’m glad they’re even thinking about it.

Why hasn’t there been a #MeToo equivalent in classical on the scale of Hollywood?

To be honest I don’t know. I don’t feel so aware because I’m mostly working on my own in a room. I’m not in an orchestra or circumstances where that might be more obvious. That said, I know musicians are sharing their stories on websites like shebangsthedrum.org. One reason – and maybe it sounds superficial – is that the key figures in classical music aren’t as well known, beyond a handful, as those in Hollywood, so the stories that have come out haven’t grabbed the headlines in the same way”.

Maybe Meredith works solo a lot of the time and the various struggles faced in the Classical world are not put in front of her quite as explicitly as they would be if she was in an orchestra. Even in Electronic music, we still see too much imbalance; women are not as coveted as the men. I think music does need a movement next year that tackles gender imbalance and sexism. Meredith is one of the finest and most original composers in the world; she is motivating so many female artists to strike and shout loud.

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I will combine a couple of topics because, as you can appreciate, I want to crack on and review a track! When it comes to Classical music especially, many consider it is for a slightly ‘older’ listener. There are modern composers and performers who are making Classical modern and updating the sound. Rather than upset purists, I think evolving and bold artists like Anna Meredith are mixing Classical heartbeats together with acoustic moments and Electronic fizz. It means she is recruiting listeners who, like me, love Classical music but has been a bit wary the last few years. I do think we live in a time where certain genres are isolated, or they reserved for certain radio stations. We have Scala Radio – a new station that is bringing a lot of modern Classical into the mix. I think artists like Anna Meredith are bridging the gaps between the older generations who are more purist, and younger listeners who crave something more experimental and modern. Not only is Meredith compelling and hugely inspiring; she is also bringing plenty of joy and uplift into her music. There are some uplifting songs around, but I think there are too many areas that are plagued by dread, gloom and moodiness. That is okay, I guess, but we need some balance and music that can give us positivity. Meredith is an artist who has a wide palette; FIBS seems less intense and more accessible than her debut, Varmints. In fact, I think Meredith is just moving in a slightly new direction and does not want to repeat herself. Rather than repeat what she has already done, FIBS is an album that keeps her core sound intact whilst moving in forward and adding in new elements. I chose Ribbons to review, as I think there is so much to enjoy. One is uplifted but, like all Meredith’s tracks, there is so much depth. I have played the song a few times and I am still discovering bits and bobs that alluded me before.   

I chose to review Ribbons, as I think it provides a great contrast to the more bombastic songs on the album. Even if tracks like Killjoy provide greater intensity and rush, I think there is something beautiful and intriguing concerning Ribbons. In fact, before I start, I want to bring in a review snippet from The Independent, where they reference Ribbons:

“If the sweet, drifting “Ribbons” and wide-eyed finale “Unfurl” feel underwhelming, that’s probably relative to the album’s more daring soundworlds. FIBS highlights Meredith as a much-needed creative force. Her shape-shifting genre-defiance constantly surprises and intrigues, but it’s good to get back down to Earth afterwards”.

Meredith’s shape-shifting is never underwhelming: it is always fresh, original and welcomed. There are no meagre or slight tracks on FIBS at all. The start of Ribbons brings in a static heartbeat that is firm and powerful. It is almost like a pulse, and a sound that drew me in. Rather than build too much energy or give too much away early, Meredith employs this emotive heartbeat that intrigues the listener. In terms of the story, Meredith talks about a ghost from her past; someone she holds close and has this connection with. In fact, you get this ethereal aspect running through the song. It is almost like Meredith is this benign observer that is floating through the air. We hear electronic glitches and little interjections that bring new elements into the music. Maybe not as loaded and emphatic as some of her other tracks, instead, Ribbons has this distinct beauty and soulfulness that is augmented by these ripples and electronic veins. There is a real physicality to the song that really spoke to me. The composition continues to evolve and bend as Meredith talks about a “line that we can’t cross”.  It makes me wonder whether Ribbons refers to something romantic.

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I think Meredith is looking further afield than her own heart. In fact, there is an oblique edge to the lyrics that get you thinking. After a chorus of “Oh…uh-oh” – that are punctuated with little fizzes and nods from the composition -, Meredith talks about ribbons and purpose; this vision of disconnect or the need for cohesion. It is a fascinating song that does not reveal its truth as easily as other songs on FIBS. In terms of performance, Meredith shows she has real emotional range. There were some vocal touches on Varmints: FIBS is the first time where Meredith has utilised her voice in such a consistent and striking way. I got these images of, perhaps, a relationship of some kind that is being tested or needs to change. At the same time, I was imagining politics and the wider world. It is hard not to re-frame so many songs in a political context, given how the world is changing. Meredith’s voice is sweet and agile, but it has plenty of heart, strength and depth. As opposed crowding the song with too many layers and too much sound, we get ribbons of music that come and go. There is a lot going on in Ribbons, and there is this slightly deceptive nature. The compositional elements that we do hear add so much and gives the song a really strong visual dynamic. I was transported to an almost Gothic locale; a very quiet and still setting where this magic story takes place. Every spin of the song reveals a different interpretation and possibility. I have not seen any interviews where Meredith reveals the inspiration behind Ribbons and whether it is taken from her personal experiences. I have gone back into the song (as I say), and it is hard to hone in on a precise inspiration – each listener will have their own views. There is such variation through FIBS, and I like the fact there are more bubbly tracks and ones like Ribbons that have more of a calm demeanour. It is these polemics and variations that makes Meredith’s work so interesting and potent. If you have a moment today, check out Ribbons and immerse yourself in the wonder of FIBS.

I shall leave you all be because, as I can appreciate, I have gone on for a long time! Look back at Meredith’s career and all she has achieved. In 2017, she performed at SXSW in the U.S. with her band. She has collaborated with Laura Marling and The Stranglers for the 6Music Prom; commissions for various orchestras and brought her music around the world. Anna Meredith and her band are pretty busy over the next few months, so go and see them if you can. Meredith is one of the artists I want to interview and find out more about. She is fascinating, and I cannot wait to see where she heads next. When it comes to Anna Meredith, you never know what to expect! She is such a busy artist, and one that seems boundless in terms of energy and innovation. I have so much awe for her, and there are so many composers around the world that are taking a lead from her. With FIBS out there, a lot of eyes are trained the way of Anna Meredith. The reviews are coming in, and there is widespread praise. I want to end with an interview extract from The Line of Best Fit – she spoke with them in 2016 when promoting Varmints. She was asked about her unique sound and how she wants her music to connect:

PHOTO CREDIT: Anthony Keiler for The Line of Best Fit

“Meredith continues: “I’m not trying to bamboozle people; there are moments of complexity but they’re there to add contrast and relief to the moment, to show intimacy and to create a contrast. For me, it’s a very visceral thing. When something feels like it has power and I can feel it building, I can actually feel myself getting out of my seat and moving, clenching my fists quite often. That’s almost like my test, a litmus test for what I’m writing…if I can feel it, I’ve got it! And I believe anybody can feel that. I’ll play it to the band and see what they think but I feel like it’s got a universal sense to it – unless you’re like ‘I absolutely don’t want to listen to this’, and then you’re never going to get through that barrier. But if you get people prepared come with you on a journey of a build or on a [Meredith takes a breath] letting out of air or an exhalation, then that’s a wonderful communal experience. Like when you’re dancing together but even if you’re all following a progression. I did a great gig in Paris the other night; there was a bit more space and people were dancing and then it got to a certain point. You could tell they were coming with you on the journey. That’s an absolute joy, to do that”.

Three years after Varmints arrived, Anna Meredith is still moving, surprising and intoxicating listeners. FIBS is a remarkable record that will surely rank alongside the finest of this year. Even if you are new to Meredith’s music, you can listen and instantly connect. She has moments that take you aback and might seem odd; she can bring you right back in and sit right alongside her. FIBS is an album with so many highlights and, whilst I have selected mine, I would encourage people to buy/stream the album and listen to all the tracks. Anna Meredith is an exceptional composer, inspiring artist and…

A truly beautiful force.

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Follow Anna Meredith

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TRACK REVIEW: Caroline Polachek - Insomnia

TRACK REVIEW:

 

Caroline Polachek

Insomnia

 

9.6/10

 

 

The track, Insomnia, is available via:

https://www.youtube.com/watch?v=xAIwDK3uj_4

       GENRES:      

Art-Pop/Indie-Pop

ORIGIN:

New York, U.S.A.

PRODUCERS:

Caroline Polachek/Daniel Eisner Harle

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The album, PANG, is available here:

https://open.spotify.com/album/4ClyeVlAKJJViIyfVW0yQD?si=J48CgjDbRBGj63-_U7reFA

LABEL:

Perpetual Novice

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THIS time around…

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 PHOTO CREDIT: Into the Gloss

I am focusing on an artist who is bringing her unique and powerful gifts to music; one of the most exciting and laudable artists of the moment. I am going to discuss Caroline Polachek and a song from her new album in a bit but, before I get there, I want to have a look at a few different aspects relevant to her. I want to look at artists like Polachek who move from bands and embark on solo careers; how that can be a transition and allow some sense of freedom. I will also talk about female artists and how, when they get to a certain age, there are certain judgements or they are seen as past it; I want to look at Polachek’s vocals and raw talent in addition to her move to L.A. and how that gave her a new lease and perspective. I think PANG (or ‘Pang’) will be judged as one of the best albums of 2019 because the songs are so powerful and instant. You can listen to the album the whole way through – which I urge people to do – and you instantly connect with the tracks. Maybe it is the production or the quality of the songwriting. Whatever it is, you cannot avoid the sheer quality and effectiveness of PANG. I do believe Polachek has a very strong voice and delivery that means every song has this very engaging and individual quality. Before I talk about her vocal style, I want to look at her work with Chairlift. From 2008, the band released three albums and enjoyed a successful career. Consisting Caroline Polachek, Patrick Wimberly and Aaron Pfenning, the Colorado-formed band split in 2016 and, with it, Polachek was looking at life outside of a band. Whilst there are shades of Chairlift on PANG, Polachek has created her own sound and world. If you look at the success of Chairlift, that would have created a great pressure for Polachek.

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 PHOTO CREDIT: Bibi Borthwick

When speaking with DIY a few days back, we learn about the rise of Chairlift and how their sound changed by the second album:

 “In 2008, Caroline was in the final year of her degree at New York University, simultaneously working four low-paying, arts-adjacent jobs. At night, she would write and record for Chairlift, the independently-minded synthpop project she’d started with Aaron Pfenning a few years earlier, along with Patrick Wimberly, who joined the group in early 2007. However, that year, their song ‘Bruises’ launched them into the spotlight when it was featured in a ubiquitous iPod Nano commercial, quickly turning them into the poster children for US indie in the late ‘00s. But notoriety wasn’t necessarily something the group wanted for themselves.

Suddenly, Caroline and her collaborators found themselves at the centre of an “international indie pop circuit” that, while exciting at the time, wasn’t quite how they wanted to form their identity. “It was only once Chairlift went back to the studio for a second album that we actually got some perspective on how we’d been swept up into this whole new, branded, ‘Urban Outfitters’ existence,” reflects Caroline. “We were really pushing back against that with our second album, which a lot of fans weren’t into, and which our label certainly wasn’t into. But I think that’s when we actually found ourselves as musicians”.

It must have been a bit unsettling and strange finding all of this success and fame coming their way. I guess, when a band gets into a position of popularity and attention, there are these changes and expectations. Although Chairlift did enjoy a good run and there were some happy times, one suspects that Polachek has more of a voice and sense of freedom on her own. One of the other problems that one can find when they move from a band to their solo work is that strange adaption and isolation. You have spent all of this time with people you grew close to and, now, you are facing the world on your own.

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 PHOTO CREDIT: Sony

Not only do you not have that same routine and work life; you also have to decide what the next moves are and what your sound is going to be when you embark on solo life. For Polachek, she found herself in a position where she had to consider all of this and decide where she would head next. In this interview with The Guardian from earlier in the month, Polachek talked about the band’s split and how she coped:

“After Chairlift split, Polachek felt her life lacked structure. “I figured I would just try a bit of everything,” she says over lunch in Paris last month. She’s here for fashion week and her outfit suggests someone at home there: a leather vest over a blousy white shirt that makes Polachek, with her striking, almond-shaped face and wide eyes, look like a modish Joan of Arc, whereas I would look like an employee at a medieval-themed restaurant. In summer 2017, she was in LA to write songs with Harle, the idea being to pitch them to Katy Perry. A magic-mushroom trip made her second-guess her plans. “I remember thinking: what I do with my time right now is really going to determine what happens next,” she recalls in her cut-glass accent. “I shouldn’t be wasting my time on things that I don’t care passionately about.”

When she called Harle to cancel, he suggested they write for her instead. Polachek had been making a “warmer, auburn, folk-tinged, peaceful” album titled Calico that she didn’t see working with the hard, shiny, electronic sound Harle was known for. Still, she agreed. Perhaps inevitably, they came up with something that overshadowed Calico and kickstarted a fruitful collaboration. Their first song, Parachute, “is about a total loss of control,” says Polachek. “And it’s not giving that control up to another person, it’s giving it up to life – and that’s the scariest thing”.

Her life did change, but I feel her solo album retains some of Chairlift’s spirit but (the songs) are a representation of Polachek and her life rather than what a label expects or the combination of the band members’ voices. Now that Polachek has moved from a band to solo work, let’s hope she is on surer footing and is looking to the future.

I will move on to a song I have been keen to cover, but I wanted to consider Polachek and women in music. It is safe to say that, when a woman reaches thirty-five or forty, they are seen in a different light. In terms of radio-play and how stations view their work, I do think there are restrictions and boundaries. Even if that artists has crafted a sublime career, stations can put them on the pile when they reach a certain age. Music is and has never been reserved to the young. I think many get this impression that the most relevant and worthy artists are in their twenties and, when you get past that point, you are only good for certain stations and do not hold much sway. One needs only look around and realise that there are so many fantastic female artists in their mid-thirties and forties who are producing some truly exceptional work. Everyone from Madonna and Kylie Minogue has had to face restrictions and ageist views from the music industry. Also, I think women are talked about in terms of their looks and appearance when they are younger; maybe, when they are in their forties, there is less emphasis and the focus shifts. It is an odd think, and I feel we need to keep striking against ageism and the perception that women are useless, less cool or important when they get to their thirties and forties – we do not apply the same standards to men. I want to return to that interview from The Guardian, where Polachek talked about the subject of age and how women are perceived:

“Polachek has found transitioning into a solo career easier than expected, it bringing new fans who hadn’t followed Chairlift. “I felt the perception of what I was doing as ‘indie’ was going to travel with me, but it hasn’t at all, which is really exciting,” she says. Aged 34 and with 12 years in a band behind her, she had worried about being a late starter, a notion she made herself reject. “I’m just beginning,” she says. “I think women are taught in the music industry that once you’re 35, you’ve expired, and I’m here to prove that factually incorrect.”

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The week we meet, Polachek tweets that her new album had marked the first time that journalists asked about her vision, not her appearance. “There’s just so much more public female intellect on display now than there ever has been,” she says when I ask why that might be. “Young people have realised that an artist is in charge of what they’re doing – this crazy cynicism that artists were puppets has disappeared. They have [music production software] Ableton Live and know how hard it is to write a song”.

It is good that there are people out there focusing on women’s intelligence and minds rather than their looks. I am seeing a lot of young female artists discussed in terms of what they look like and not what is coming out of their mouths. It is upsetting to see, yet it has been happening for decades. I think attitudes are starting to change and artists like Polachek will definitely help change attitudes. I know she would have received a lot of comments about her looks when she was in Chairlift; questions about her private life; maybe written off in terms of her role in the band and whether she was important. With awareness being raised and artists speaking on social media, we can no longer tolerate sexist attitudes and exclusion. I hope radio stations start changing their attitudes when it comes age and imposing a cut-off regarding their playlists. It is such a shame women are seen as expendable and less when they are in their thirties and forties. This year has been dominated by female artists, and I know that will continue into 2020. The industry needs to react and ensure that festivals are more gender-balanced; radio stations start ensuring their schedules have more women in the mix and other areas strength.

 PHOTO CREDIT: Into the Gloss

There was a lot of shift and clarity when Chairlift split up. Life was not going to be the same for Caroline Polachek. Although a lot of time has passed since the end of the band and this solo record, Polachek has been dealing with a lot of change and uncertainty. PANG is a very personal album; it is one that sort of reflects on her experiences and changes over the past few years. When speaking with DIY, Polachek discussed what was happening in her life when writing PANG:   

“There was a lot going on in my life while I was writing this album. I was feeling a lot of big change, and a lot of self-doubt, a lot of self-questioning. To write about anything else would have seemed crazy,” she says. In the past, Caroline has spoken about her determination to specifically avoid making music about love and romance, citing the bloated size of the canon as the logic behind her reasoning. But ‘Pang’ demonstrates a significant departure from this ideology. “As I’ve gotten older and more sentimental, I’ve started listening to love songs very differently: not necessarily as songs about a person or a relationship, but as songs that are essentially devotional or spiritual, [ones] about your relationship with life and existing”.

It is interesting how Polachek has changed as a songwriter since the band days. Maybe traditional love songs and areas of relationships do not appeal and Polachek is looking at life from a new angle. Again, I think there is a lot of pressure on artists to write songs that are commercial and familiar. Pop has not really moved on regarding the mainstream and writing about love. I look at music now and so much of it is filled with the same kind of songs. I can understand artists wanting to write something relatable and familiar, but it can be a bit same. Polachek might be facing relationship struggles or new love, yet she is writing about love from a more spiritual and intellectual space. As such, her music is less overwrought and hurt as many artists.

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 PHOTO CREDIT: Karsten Moran for The New York Times

For sure, there are pains expressed in PANG; there is also a lot of wisdom expounded and optimistic spirit. Whilst Polachek’s feelings of self-loathing and uncertainty are uncovered on PANG…that is not to say the album is a very heavy and emotional listen. I mentioned how there is optimism and spirituality and, as you listen, you get this mix of emotions and feelings. PANG is a wonderful album and one that will resonate with many people. I do wonder, having written the album, Polachek has felt lighter and moved on. I feel music is very cathartic and beneficial when it comes to exposing wounds or harder times. Polachek has experienced change and doubts over the past few years. She just had to put them in the music and, in doing so, one feels there has been some revelation and answers. It would be strange if the whole experience was for nothing. Instead, PANG seems like an album where Polachek is moving forward and making sense of stuff going on in her life. One cannot listen to the album without being moved and empathising. When one considers Caroline Polachek and what her greatest strengths are, you sort of consider her lyrics and vocals. Her songwriting is very personal, yet her songs are not restricted to herself. What you find is an album brimming with lines and lyrics we can all appreciate and understand. Her writing is incredibly honest and intelligent; the way she employs language and delivers her material is incredible. I do particularly love her voice and how, unlike so many other artists, there is incredible range and depth. There are some really great female artists of the moment – like Anna Calvi – who can take their voice in all directions and convey so many different emotions. Before moving on, I want to bring in an article concerning PANG’s first single, Door, and why it was chosen; how her incredible voice stuns and moves the senses:

“The testament to the strength of Polachek’s creative vision is that Harle’s noted instincts for heavily processed vocals and crunchy synths never overwhelm the star of the show: Polachek’s classically trained voice, which can move from guttural growls to the rippling purity of birdsong within the space of a single track.

PHOTO CREDIT: Sony 

“When we finished our first session together, it felt new because it was so minimal instrumentally, but so extreme vocally,” she says, “I knew straight away I wanted to follow the thread of a magical, almost folkloric tone. I really did push myself to kind of do the most expressionistic singing I’ve ever done.”

And where Chairlift’s final two albums viewed love through a prism of misty-eyed wonderment, Polachek’s solo venture is bracingly candid. Across the album, she plumbs the depths of heartbreak and romantic frustration—and, on the penultimate track, “Door,” undergoes a kind of emotional rebirth—to address her personal life in heart-rending, honest terms. Why, then, did she choose to lead with “Door,” one of the record’s more enigmatic, slow-burning moments? “I was actually really stunned that my label suggested ‘Door’ as the single to lead with, as it’s such a long and winding song,” she adds. “But the more I sat with it, the more I felt that, yeah, this is a really good introduction. There are songs on the record that are a bit more twisty and moody. And this one feels like, no pun intended, an open door. It feels like an invitation”.

PANG is a very emotive album but one where there is plenty of beauty and variation. I have listened a few times and, the more I investigate, the more I discover. After Chairlift ended, there must have been this hollowness and fear inside Polachek. How was she going to carry on and would she record music on her own? When was the right time to embark on a solo career? I do think her solo album is a real triumph and the start of a long career. She is an artist who has so much more to give and I cannot wait to see where she heads next and what the next album sounds like. Before we get too far ahead of ourselves, I have been listening to PANG and have selected Insomnia for review – my favourite song from the album.   

I chose Insomnia for review because it is one of the most beautiful songs Polachek has ever performed. In terms of composition, it is quite minimal. There is reliance on a sense of mood and atmosphere rather than needlessly heavy beats, strings or intrusions. With a subtle backdrop that is perfectly fitting, Polachek is at the front; her voice at its most engaging, haunting and powerful. If you want an example of how Polachek’s voice can go in different directions and has this physicality, Insomnia is a great example of her talents. She asks the following: “How long can sunlight stay warm in the storm? How long ‘til the bath runs cold?”.  Whilst it is hard to get an instant truth and clear vision, those words really intrigue me. I get the sense that there is turmoil in her life; confusion and changing time that is causing restlessness and sleepiness. Her optimism and better nature are being threatened by the changing tide and events around her. The warm glow and bath is growing colder and one wonders what has started this thought. Maybe there is this rocky relationship or just Polachek facing a very tough time. Polachek calls for the dawn and light to come; she is looking for blue and grey skies; she wants the waves that break to come to her. It seems like she is caught in the limbo of fatigue and a strange state where she cannot see much light or relief. Insomnia is a wonderfully beautiful song where Polachek lets her voice swim, glide and move. It is almost like she is walking through the darkness, in search of a safe place to rest. She needs relief and settlement, yet it seems like she cannot work things out and know where to go next. You need to listen to the song a few times, because it is one of these incredibly moving and stunning songs that unwinds and unfurls slowly. There are echoing electronics in the background; the main focus is the vocal, which is almost operatic in its projection.

Rather than rush things or have her voice processed, Polachek allows the words to stretch. It is incredible hearing a singer take this approach, because I associate so much of today’s music with processed vocals and fast Pop songs. It is rare, regardless of genre, to find a song that moves so gradually and beautifully. Because of that, one can project images and watch scenes in their head. Polachek sings about fields that were once green, burned by someone like her. With these very rich and vivid images being evoked, you cannot help but be affected and brought into the song. Polachek is a fantastic writer and voice. Written and produced with Daniel Eisner Harle, Insomnia is a song that, ironically, creates a dreaminess and sense of calm that can relax. That said, the sheer weight of the vocal and the power of the lyrics provokes you to listen and pay close attention. I have heard the song a few times and wonder whether Polachek is referring to a period of her life where she is finding her footing and trying to find some optimism. Perhaps the fears are irrational, or maybe she is trying to make sense of disruption. The truth is with Polachek, and every listener will have their own views and thoughts regarding the song. PANG is overflowing with brilliant songs and moments that sort of take the breath. I was drawn to Insomnia because it hit me hardest and left the biggest impression.

 PHOTO CREDIT: Chelsea Lauren/Getty Images

Caroline Polachek is playing some dates in the U.S., but she will be in London on 30th October, so make sure you go and see her if you can. Her live shows are terrific and it will be interesting to see how PANG translates to the stage. Since the split of Chairlift, Polachek has made some changes. I think having her voice and writing in the spotlight is a great thing. I am not saying being in a band is a bad thing, but Polachek is allowed more freedom and expression as a solo artist. There is not the same expectation and pressure; she is almost starting anew but, as we know, she will always carry the band with her – it was such an important part of her life. I will end this in a second, but I want to bring in that interview from DIY where Polachek was discussing PANG and how she has relocated. Not only is PANG personal, it seems, but there are political considerations; she has also been adjusting to a start in Los Angeles:

“We have this idea that we’re all individuals in charge of our fate, and the responsibility of ‘living the American Dream’ is on us,” she begins. “And I think the version of feminism that women are being sold right now in pop culture is that being a good feminist is an extroverted act in terms of loudly defending yourself and pushing against things. The idea of giving into something that you’re not in control of is identified with the old model of femininity, or the model of femininity where you’re controlled by men.

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PHOTO CREDIT: Nedda Afsari 

But this record isn’t about giving in to a man per se, or any sort of system. It’s about giving in to a part of yourself that you’re not consciously in control of, and taking instructions from your intuition.”

There’s that intuition again. Currently, Caroline is settling into her new LA life, following that gut feeling across the country, if only for a couple of years. Where she’ll artistically head next, who knows, but chances are it’ll be led by that same inner intrinsic impulse. “I want to try my hand at scoring. I want to try my hand at acting. I guess being in LA is conducive to those kind of things,” she says. “It’s a good place for making things right now, but who knows [about the future]. Life is long”.

I shall end things there because, as you can appreciate, a lot of words have been laid out. I hope I have got to the bottom of Polachek and her incredible music. If you are not familiar with the work of Chairlift, it is worth looking back at their albums and seeing where she came from. PANG is a new chapter for Polachek, and I hope we see a lot more material from her. There are certain artists who grip you and stay in the head as soon as you hear them – Polachek is definitely one of the elite. Make sure you stream/buy her solo album and see what I mean. PANG is fresh in the world, but it is an album you instantly bond with. In my opinion, PANG is one of the…

 PHOTO CREDIT: Into the Gloss

BEST releases of 2019.

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TRACK REVIEW: Beck - Uneventful Days

TRACK REVIEW:

 

Beck

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Uneventful Days

 

9.5/10

 

 

The track, Uneventful Days, is available via:

https://www.youtube.com/watch?v=uu8u_6BQsMo

GENRE:

Art-Pop

ORIGIN:

California, U.S.A.

RELEASE DATE:

16th October, 2019

The album, Hyperspace, is available from 22nd November, 2019. Pre-order here:

http://beck.to/HyperspaceWe

LABEL:

Capitol

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THERE is never any telling where an artist like Beck…

PHOTO CREDIT: Peter Hapak

will head when it comes to his music. We will receive his album, Hyperspace, on 22nd November but, before then, he has released two tracks – I am reviewing Uneventful Days; the other is Hyperlife. I am looking forward to Beck’s fourteenth studio album. I will discuss a few things in this review. Included will be the maverick and restless nature of Beck; working with renowned producers and how they can bring something fresh to the party; collaborators and how, even though it distracts from a singularity, there is an interesting point Beck raises; the endurance and legacy of the Los Angeles-born artist and where he might head from here. Before I get there, I want to bring in a bit of a personal story…a couple in fact. I think it is interesting how Beck transforms and moves between albums. 2017’s Colors was a bit of a departure from the more introspective and dreamy albums Beck was producing before then. Colors brought, well, a sense of colour and brightness back; it seems Hyperspace will be a balance of a record like Sea Change (2002); some shades of The Information (2006) and some slight touches of Guero (2005). That last album, in fact, was one that awoke me when it was released but has provided great comfort and guidance since. I think one could apply that to a lot of Beck albums; how he can ‘speak’ to people or open their minds. I bow down to the majesty of Odelay (1996) and Midnite Vuiltures (1999), but there was something about Guero that really struck me. I could hear the passion in the album and something I had not experienced before. Having graduated the year before, 2005 was a year when I was a little directionless and scared. I was not sure where my life was going, and I was looking for structure. I cannot attribute Guero for completely transforming my life, but I was sparked and infused by this kaleidoscopic, bold and heartfelt album that mixed Hispanic and Latin sounds with so many other genres. I was well aware of Beck’s cannon pre-2005, naturally, but Guero was a shot in the arm.

The beauty and rawness sitting beside one another; how the album made me feel (and still does) and the way it moved me. Not long after the album arrived, I started taking up journalism and thinking about it. Although I did not launch my blog until 2011, I began plotting and becoming more immersed in what I could do as a writer. Up until then, I had been interested by journalism and the chance to assess albums and talk about various sides to music. After Beck’s Guero came to me, I was even more motivated to pursue that path, as (that album) was so different and remarkable. Even though Guero is not seen, by many critics, as one of his best, it is my favourite. I am now charged with looking at his current offering, yet I felt it was important explaining my love of Beck and why a particular album resonated. I shall move on in a minute but, before I do, I wanted to stay on the subject of Guero and apply it to the rest of Beck’s catalogue. There are so few artists who can change colours like a chameleon; to inhabit a new sonic world so authoritatively and sublimely. Look at all of Beck’s albums and you’d be hard-pressed to compare them. Guero was a moment when I was given drive and momentum; when I looked back at Beck’s music with new insight and got more heavily involved with the true depths of the music industry. It might sound weird saying an album can do that; it owes a lot to Beck’s curiosity and ambition – which I shall expand on more later. If you are relatively new to Beck or dip in and out of his work, I would recommend you have a listen to his albums, and I guarantee there will be plenty that will affect and move you. I guess my love of Beck stems from his inability to stand still and the sheer variety he gives to us. That sonic hunger and desire makes him one of the most surprising and inspiring artists in the world.

 PHOTO CREDIT: Lauren Dukoff

Even before Odelay arrived in 1996, Beck was experimenting and stepping into new territory. I love 1994’s Mellow Gold; the intriguing and excellent One Foot in the Grave (1994) and how Beck was always moving forward and not willing to be tied down. I want to bring in a couple of interviews that concern Beck’s past and present work. To start, I will source from a Los Angeles Magazine interview from 2017 that raises an interesting point: Beck’s work can be divided into a couple of camps: the vivacious and freewheelin’ and the more collected and structured:       

“One could roughly divide your albums into two piles: loud/fun/upbeat/digital and quiet/serious/downcast/analog. Which feels better to let loose into the world?

It’s strange because the way the world receives it is rarely how you intend it, and so be it. But it is satisfying when people get what you’re trying to do. Morning Phase was a rare thing. If I put that record out 20 years ago, people would be like, “Oh, this is too slow. This feels too pretty.” It came at a time when people were in the same place, ready to have the same conversation. There’s always a sense of “I don’t know if this is gonna connect,” but I’ve done it long enough to know, even if it falls flat and nobody likes it, there will be a point when people are ready for it.

In a way that’s been your role the entire time. You arrived smack-dab between the manly arts of grunge and rap-rock, in all of your lanky, dancing, kazoo-blowing dweebiness. Did you feel the odd man out at festivals or awards shows?

Yeah, I was the white part of the Oreo. My whole first decade and a half was confrontation—people in the front with middle fingers at me for the entire show, booing and throwing things. Going to Lollapalooza and nobody’s clapping when I play “The New Pollution.” It was years and years of the audience laughing at me. And journalists saying, “Well, you don’t really write songs. This isn’t really music per se. It’s more like a concept, right?”

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I wasn’t in the club. So this was happening, and then it was me and Radiohead and Björk and a couple of others exploring the idea that it doesn’t have to be guitar, bass, and drums; we can expand the palette—the idea of what music is or isn’t. That was maybe inspired by jazz and classical and hip-hop. It’s been sweet the last five or ten years watching the opening up of what’s acceptable in alternative music and even pop. Like, “Damn, I don’t need to try to fit in. I can just do what I do”.

It can be hard switching gears and directions and keep focused and relatable. There are artists who throw new stuff into the mix with every album and it can sound rather cluttered and scattershot. Beck has such command and does not want to be this artist who repeats himself or chucks everything into the blender for the sake of it. Instead, each album has that sense of craft and meaning. I love both of his sides, and I think it is unusual seeing an artist produce an emotional and more personal album at once, moving to a big and outward-looking album the next! It is testament to his inventiveness and commitment that means Beck always keeps us guessing; never predictable and always stunning. The interviewer for Los Angeles Magazine asked Beck about his sonic curiosity:

“One thing your fans value about your body of work is its unpredictability. When you look back at 25 years of music, what fuels your sonic restlessness?

There’s a period of time when bands do their records that are relevant or necessary. I’ve always wondered, “Is there a point where you stop?” But on tour, seeds are constantly getting planted, influencing the next album. You’re engineering this thing that’s very difficult to put your hands on: resonances and vibrations of air, pieces of sound. It’s this beautifully maddening experiment of trying to translate this feeling you have about how you want to connect with people in the real world. Sometimes you get 20 percent there, or 50 percent. I’ve been lucky to get all the way there a few times—to that place where people let go of their niceties, of their default personality and the way they conduct themselves in life, and all of a sudden they’re just in a field somewhere yelling, “Fuck yeah!”

 PHOTO CREDIT: Amy Harris/Invision/AP-REX/Shutterstock

Beck has always had a hand in producing his albums. The music is his visions, so one would expect Beck to be a big part of the final product. I see artists who hook up with renowned producers and you get the sense they do this because they want to be seen as cool or relevant. Some do it because they know that producer will add something necessary to the music; something that pushes it forward. One example that springs to mind is Madonna hiring Nile Rodgers to produce Like a Virgin (1984). One can look at what he brought to the table and how it helped bring Madonna’s work to a new level; gave her fresh impetus and motivation. Beck worked with Nigel Godrich for Sea Change in 2002. As the name implies, Sea Change was a very different beast to 1999’s Midnite Vultures. On that album, Beck worked with The Dust Brothers (who produced Guero) and they helped bring Beck’s fevered and exciting songs to life. Sea Change would have sounded very different if Beck had produced it or drafted in another producer. In this case, Beck had seen the work Godrich was producing for the likes of Radiohead – Kid A was released in 2000 – and knew that he (Godrich) would take his music to the next phase. Godrich added something essential to Beck’s work and provided him fresh ears and eyes. In the case of Colors, Beck worked with Greg Kurstin. You can see who Kurstin has produced for - but I think his reputation and expertise, again, helped Beck stay relevant and progressive. Colors is as bright as Odelay but is not the same in terms of sound and lyrical themes. One can argue another producer would have done a good job, but I think Kurstin’s sheer experience and range was essential when it came to helming an album like Colors. Again, when it came to a big-name producer to help give the music new lease and personality, Beck recruited Pharrell Williams.

There are a few producers who helped bring Hyperspace to life; Pharrell is someone Beck always wanted to work with and, as he explained to NME recently, the results speak for themselves:

“‘Hyperspace’ – which Beck teased last week in a cryptic Instagram post – comes two years after his last record, 2017’s Grammy award-winning ‘Colors’. The album is due out November 22 via Capitol Records. Seven of the album’s 11 tracks, including the previously released ‘Saw Lightning’ and the new single ‘Uneventful Days’, were co-written and co-produced by Pharrell.

“I’d always wanted to make a record with him,” Beck told NME. “We had been friendly over the years and had got together and talked about making some music back in 2012, but around that time he ended up putting out a song with Daft Punk, then ‘Blurred Lines’ and ‘Happy’.”

“I was not expecting the songs to come out how they did. I was going in thinking of songs like ‘Drop It Like It’s Hot’, y’know?” Beck said of working with Pharrell. “He felt very strongly that spending a little time with me, that ‘You need to be doing singer-songwriter type of songs’. So that was more of the direction we went in”.

As I said…I think there are big artists who hire these iconic producers because they just want the hype and feel like it will make their music more popular. In Beck’s case, he is looking around and seeing who can elevate his music and give it new spin. I am interested to see what Hyperspace sounds like and whether the two new tracks are representative of the rest of the material. One cannot find much common ground between Colors’ sound and what we can hear on a song like Uneventful Days. One can credit this originality and shape-shifting to producers, but Beck’s savviness and restlessness is a big part of the equation. I want to move on to a new point; one I had not really considered before today when it comes to collaborators on an album.

It is clear that Beck has created this legacy and is one of the most fascinating artists ever to grace music. He has released this incredibly busy and different albums that have so much feeling and brilliance. Whilst Beck works with other producers and musicians, there are few other voices on his albums. Even the biggest artists combine with others to add something to their songs. We live in a time when there are so many needless collaborations; artists packed into a song and, really, it adds nothing at all. I do not like cluttered songs where there is this feeling that people are on the track just to boost their profiles. Beck has always seemed quite singular and solo when it comes to the vocals; making sure his voice is the one guiding the music. Even though there are other people in the studio with him, he does not get to collaborate and welcome other artists in. It seems that, on his latest album, he has brought some friends into the ring. I want to return to the NME article; they explain more about the more collaborative nature of Hyperspace:

 ‘Hyperspace’ is also one of Beck’s most collaborative efforts to date. Guests to look out for include Coldplay’s Chris Martin, who provides back-up on ‘Stratosphere’, and Sky Ferreira, who sings backing vocals on ‘Die Waiting’. A few days ago, Martin joined Beck onstage for a rendition of his 1994 hit, ‘Loser’.

Colors’ producer Greg Kurstin co-wrote and -produced ‘See Through’, while Adele collaborator Paul Epworth worked on ‘Star’. The title track ‘Hyperspace’ features guest vocals from newcomer Terrell Hines.

“A lot of my albums, there aren’t many guests,” Beck told NME. “I have memories about albums I’ve made that are just really lonely. I’m in there 12 hours a day just trudging through this production, so it’s a great joy to bring people I know into my music. I’m hoping to be able to do this more often”.

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PHOTO CREDIT: Larry Hirshowitz 

I never really considered that solitude can be seen as loneliness when it comes to recording. One of my bugs regarding other artists on albums is that the central artist gets distilled and you yearn to hear more of their voice. There is nothing wrong with using other artists, but so many artists cram their albums and it can be a bit much. When it comes to Beck, he has always sort of done things on his own and, as I said, it is rare you hear too many other voices. He has come to the point where he has been in the studio doing vocals by himself for too long. Rather than load the songs with as many people as he could find, Beck has chosen great producers and artists to give his work a bit more company. The fact he has brought in Sky Ferreira and Greg Kurstin suggests Hyperspace has Pop elements and may be closer in tone to Colors than an album like Morning Phase (2014). It is, as I reiterate, hard to pin Beck down and predict what the next album will contain. I like the fact there are some familiar names on board this time around. Rather than have every track featuring a different artist, instead there is some well-chosen partnership. After decades of putting out fantastic music, Beck has realised that it gets a bit lonesome carrying the music himself. Maybe this will lead to future albums having other artists involved. In any case, Hyperspace is another big move from Beck and sign that he is never going to slow or settle. The world would be so much more boring without his music; I cannot wait to see what his latest album contains. 

 PHOTO CREDIT: Peter Hapak

If Colors was a vibrant and luminous album set in the here and now, the energy and vibe of Uneventful Days seems to take its inspiration from the 1980s. The synths, delightful plinks and the rush of the opening seems to suggest Beck is nodding back to a decade that never goes out of fashion. What you have, rather than repeat what other artists do with the decade, is a blend of the delightfully spacey and atmospheric. One feels this lightness and a floating quality; there is also a slight heaviness that comes through. When Beck steps to the microphone, he talks about “Uneventful days, uneventful nights/Living in the dark, waiting for the light”. In relation to contrasts, Beck’s vocal has a slightly process quality, but it also sounds quite soulful and casual. What we hear is an almost machine-like tinge but there is little anger and foreboding in the delivery. Even when he sings of changing landscapes and battle lines, one never feels overwhelmed and saddened – even though the lyrics point to something quite serious. There is ambiguity in the lyrics. One could attribute them to modern politics and how there seems to be this huge divide; far worse than previous years. Maybe there is a personal sadness and realisation that the world around him is changing. I was instantly engrossed by Beck’s intriguing words and his vocal style. The combination is fantastic, and one is involved in the evocations and realisations. In some ways, the track has elements of modern R&B alongside 1980s’ touches. The clash of the modern and bygone; the fusing of something quite of-the-minute and hip with a nostalgic side gives Uneventful Days real depth and variety. When singing “I know, I know, I know…”, that coda seems like a sense of understanding or naivety: Beck pining for stability and hope but realising there is too much division around him.

Many modern artists are expressing anxiety and fears regarding the world in a very charged, depressed or heavy way. Beck manages to inject beauty and calm as he allows the lyrics to move and infiltrate the senses. When Beck sings about not getting things right and making mistakes, I get the feeling he is talking less about predictions regarding the world and is, rather, looking at his own life and the choices he has made. It makes me wonder whether Beck is expressing a feeling of stagnation or downward shift at a time when the world is moving in all sorts of directions. Perhaps he is unable to make sensible choices and find a semblance of calm in his own routine because of what he is seeing and hearing. For those expecting Beck to be the same as he was on any other song/album, you will be surprised. On Uneventful Days, he switches between 1980s Pop/synth, but one can hear current chart-based R&B/Pop; he even gets a bit funky in places. It is a concoction of time periods and genres that melts together superbly in a song that moves Beck’s sound and story on. More and more, as the song progresses, I feel there is some strain or personal burden that Beck is trying to make sense of. When he speaks of these never-ending days and nights, I feel there is a domestic component rather than a political one. The composition is busy but never too hectic. There are some skiffling beats and machine-fed moments; a breeziness and urgency that makes Uneventful Days complex and contrasting. I detect, perhaps, a tinge of irony when Beck sings of the uneventfulness of the days. Maybe he wants something good to happen or he is in a rut where he needs to figure things out and go back to how things were. Like every fantastic track, you will think one thing when you hear it first before your mind and opinions change. Everyone will have a slightly different perspective. The more I listen, the more my mind changes and I flip between love breaking down and a look at the world – Beck trying to get his head around it all. Uneventful Days is one of the most interesting songs has produced for a few years. That is no slight: quite the opposite in fact! What I mean is that, when you listen to the track, it seems quite simple and direct. Instead, the song brews and bubbles in the mind and will resound in the imagination. It is another terrific song from one of music’s true originals. It is hard to say whether Uneventful Days is typical of Hyperspace’s direction. Whatever we get from the album, it is likely to be one of 2019’s very best.        

PHOTO CREDIT: Lauren Dukoff

I have discussed a lot of different elements regarding Beck and his music. He is an artist both binary and completely across the spectrum. By that, I mean his music can be separated into the crazy and colourful but also the more emotive and sweeping. Within these sectors, there is so much diversity, character and difference. When he is putting out an album that is quite evocative and deep, the music and vocals are really arresting and nuanced; the lyrics paint these incredible images – one can never accuse Beck of being boring and one-dimensional. I also love his more variegated approach, where Beck marries disparate sounds into this collage. Beck is touring at the moment, so keep an eye out and catch him if you can. He is one of the most important artists we have in music and I hope there are albums for many more years to come. Odelay was the first time I heard a lot of different genres fused in such a daring way; Guero gave my life a sense of renewed purpose and, since then, I have followed his work and devoured every track. The rest of this year will be a mixture of touring and promotional interviews as we ready ourselves for Hyperspace next month. I do wonder what 2020 holds in store for Beck. There are going to be gigs, but I am already looking at the next album and what it might contain. We have artists that simply appeal on a single level and have a particular sound. There are those who go further and occasionally shift gears as time goes by. Then, there are those who always move and ensure that their music keeps on growing and evolving. Beck is in that very rare group; one that is reserved for the elite. Beck’s latest track(s) is another assured, different and compelling slice that will be in the head for a very long time. He is a true master and ever-evolving writer who is in his own world and league. We need to preserve, promote and promulgate Beck because, when it comes to artists of his stature, they come around…   

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 PHOTO CREDIT: Richard Burbridge

SO rarely.

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TRACK REVIEW: Kitt Philippa - Fahrenheit

TRACK REVIEW:

 

Kitt Philippa

Fahrenheit

 

9.6/10

 

 

The track, Fahrenheit, is available via:

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

GENRE:

Indie

ORIGIN:

Belfast, U.K.

The album, Human, is available via:

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

RELEASE DATE:

11th October, 2019

LABEL:

Paragon Records

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I have been familiar with the music…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 PHOTO CREDIT: Bibiana Reis

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

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PHOTO CREDIT: Charlene Hegarty

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

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

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

 PHOTO CREDIT: Christopher Barr

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

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

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PHOTO CREDIT: Stephen White 

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

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

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

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

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

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

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 PHOTO CREDIT: Charlene Hegarty

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

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

ON the map.

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Follow Kitt Philippa

TRACK REVIEW: Elbow - White Noise White Heat

TRACK REVIEW:

 

Elbow

PHOTO CREDIT: Peter Neill 

White Noise White Heat

 

9.5/10

 

 

The track, White Noise White Heat, is available via:

https://www.youtube.com/watch?v=1zDMo40w5IA

GENRES:

Alternative-Rock/Indie-Rock

ORIGIN:

Greater Manchester, U.K.

The album, Giants of All Sizes, is available via:

https://open.spotify.com/album/4EqYFNisfHX1IPA0IoaKI2?si=bpUxOqbXTviguKeBH6ZjIg

RELEASE DATE:

11th October, 2019

LABEL:

Polydor Records

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I have held off reviewing Elbow…

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for a while, because I wanted to wait until the album, Giants of All Sizes, came out. Now that it is in the world, I have picked the latest single, White Noise White Heat, and will try to get to the core of Guy Garvey and his band. I wanted to start by talking about Garvey and his leadership; his fantastic personality and warmth. I will also move to look at Elbow and how they have progressed through the years; a bit about political climates and how, now, Elbow are rooting for change and understanding rather than attacking or sitting back. I want to address the reputation Manchester bands get for being miserabilists and how Elbow have never been that sort of band; a little about bands with renewed purpose and place. I am a big fan of Guy Garvey and he is one of those artists who is genuine and has a brilliant warmth. I have seen some articles and sources that claim Garvey comes across a little prickly or awkward but, in reality, every human being does! Garvey is one of the most engaging people to listen to and, as leader of Elbow, I am really interested to know where he came from and when music struck him. I will talk more about Elbow’s current moves in a bit but, before getting to that stage, I think it is important to study a songwriter as prolific and celebrated as Garvey. He is one of the most varied and brilliant songwriters of this generation. There is reality and truth in what he writes but, whether it is the Progressive-Rock moments on Giants of All Sizes or the more bombastic songs on The Seldom Seen Kid, Garvey brings out so much emotion and feeling. I want to bring in an interview from 2015 Garvey gave with The Guardian when promoting his solo album, Courting the Squall:

 “He can remember all the colours, sounds and smells of his childhood – the music blasting, his sisters singing and never walking down the stairs because they were always in such a rush. “They just jumped the length of the stairs, and every five minutes you’d hear this crash in the hall. They’re still manic when they’re all together now.”

PHOTO CREDIT: Thomas Butler 

Garvey excelled at school, until the age of 12, when his parents split up. He got two GCSEs, and was eventually thrown out of sixth-form college after enrolling three years on the trot without attending classes. He knows his family were disappointed in him. “I’m the only one who didn’t get a cap and gown photo on my mum’s wall. And then I was given an honorary doctorate in Manchester, which my sister Sam was furious about. She worked for her PhD.”

He was always a big lad, but despite his size he was bullied. “I was the tallest in school. But a couple of little shits made my life hell. I had massive, sticky-out ears. Huge. They tortured me about it.” When he was 12, he had his ears pinned back, got his first crew cut and thought he was making a new start. “I went back to school and within half an hour they were singing Holding Back The Ears. It’s kids: twisted, evil geniuses.” He finishes his pint. “Very nice stout this, by the way, mate.”

I ask how he manages to be so productive. “Most of the things I do for a living I can do drunk.” Does he worry about his alcohol consumption? “Yes. I drink too much. The one I’ve really got to watch is whisky. I adore it.” How much can he get through? “I’m ashamed to say I could polish off a bottle without a problem. I could have this conversation after a bottle of scotch.” How long would it take him to drink? “A couple of hours.”

Does the drinking help him write? Garvey smiles. “I used to think booze helped me write. It doesn’t at all. I used to convince myself it was a necessary part, but that’s bollocks.” Nearly all his best work, he says, is done sober. Why did he tell himself he wrote better drunk? “The drinking was all part of the garret, the romance of the swinging lightbulb, the dedicating my life to unpaid art idea. Tortured in my 20s – all part of that”.

I can imagine Garvey being hooked by music at school and chasing it. It is interesting to read this interview from a few years back and learning about how he is open about his childhood and harder times. Garvey is a great band leader and, in terms of his path to success, he has brought together all his experiences, battles and memories and injected them into he music.

I think the fact Garvey is so relatable and grounded means the music of Elbow has that extra degree of resonance and connection. Look back at an album like Asleep in the Back from 2001 and how they have evolved over the past eighteen years. I love their debut a lot – and so did the critics! -, but I think Elbow have become more experimental and bolder as they have progressed. One can say that, as Elbow have grown older and their bonds tighter, that is natural. I find a lot of artists tend to stand still or are not as progressive as you’d hope. Elbow continue to venture and search with each album. Giants of All Sizes is a mature album but, musically, there is so much happening. I think (the album) is one of their most eclectic and fulsome. Another thing that strikes me when it comes to Elbow is a comparative lack of interviews. They were in session for Shaun Keaveny at the legendary Maida Vale Studios and the band were in great form! I do wonder why there are not more press interviews out there. It would be great to hear more from the band about their current album and, as someone who has followed their work since the early days, I would be interested discovering what has inspired the latest album and how things have changed in camp through the years. I did find an interview Garvey gave to Under the Radar, where he was asked about Elbow’s changing sound and, interestingly, whether is a spirituality to the music:

“Is there a spirituality that sort of roots the music, or is part of the music-making process for you?

Well, I realized recently when somebody very, very close to me was very, very ill what I believe. Because I was brought up a Christian, but I haven't considered myself a Christian for well over half my life now. But I realized in the desperation of prayer—and it was the absolute desperation, I don't want to go into the details because it was just horrific—I found myself saying God, all the gods, anything anybody's ever believed in, every proton of good will that's forced the universe to change for the better, spare me a few scraps here, for this person I love.

IN THIS PHOTO: Elbow with Jesca Hoop/PHOTO CREDIT: BBC 

I suppose in that, you can't dispel somebody else's belief on account of not agreeing with them, because even if you don't believe in anything spiritual, any higher power, you don't have the right to take that away from people. And religion causes all kinds of bad things, of course it does. But it also gives people will, positive will. Martin Luther King said in a letter that he was a Christian before he was a black man, and it was his faith in Christ that gave him the impetus and strength to do what he did, knowing where he was going with it.

I don't believe in a deity. I don't believe in a physical embodiment or a creature. I believe in will because I see the effects of it all around. I believe in lives spent sharing and lives spent moving positively and thinking about people afterwards and doing it because it's right. In a nutshell, I believe in positivity. I believe in people. I believe in good will, and there are all kinds of energy that we're not aware of.

I'm not somebody who reads auras or believes in ghosts, any more than I'm a Christian or a Muslim, but I read atmospheres. I read atmospheres in a room. I always have. You walk in and you feel a prickle because a character's there that you shouldn't trust. It's probably an extension of my natural cowardice where physical violence is concerned. I've managed to not get punched my entire adult life. In fact, when I was in charge of a nightclub in Manchester for four years, there was never a punch thrown on my watch, because I could spot the problem makers before they could cause any trouble.

PHOTO CREDIT: Deirdre O’Callaghan  

How much does making music today feel like it did in the beginning?

Well, there isn't the same arguing, wailing, gnashing, endless insisting your point being the right point. We just rowed for 10 years about over what should happen next. Like storming out rows. That doesn't happen anymore. There's intense discussion, but it doesn't get personal. At the same time, that was an incredible passion.

I remember the first time we played as a band at St. Anne's Church hall when we were all 17 and Craig [Potter] was still at school. Craig was 15. We were playing a song and when we stopped at the same time, I couldn't believe it. I couldn't believe that we'd coordinated ourselves to the point where we could play a song and know exactly where it ended. [Laughs] And that feeling was the spark of the buzz.

Today, I've just moved house and I set up my speakers and I put the same record I always put on when I set up my hi-fi. It was put in storage for a year. I put Talk Talk's New Grass on the speaker as the sun went down, and my wife was on the stairs playing with our son, and I just bathed in the sound. Just got lost in the moment. I'm so passionate about other people's music, and consider it such an honor to be able to add to that great big beautiful cloud that is all music.

I really like the fact music is such a big and constant presence in Garvey’s life. I was listening to the band chat with BBC Radio 6 Music yesterday (10th October), and they had this brotherly connection and cheeky affection. They are a band who has that great love, and they are always looking to move forward. It seems there is greater stability in the band and an undying passion for what they do.

I am going to review a track that has a political element to it. White Noise White Heat is one of the most angered and emotional songs the band have ever created. Garvey has explained how the song is not about the tragedy at Grenfell, but it is a reaction to the fire which claimed lives and devastated a community. Seeing the smoke pour and the carnage on the news, that awful event from 2017 impacted us all. If the remainder of Giants of All Sizes has a sense of positivity and hope, there is more self-doubt on White Noise White Heat. Whereas Garvey and crew could find uplift and sanctuary in the face of other problems and events, the pain and rawness of Grenfell needed something pretty hard-going, evocative and honesty – less we downplay the seriousness of the fire and its horror. There is a change in musical approach/direction on White Noise White Heat, and you know the band mean every note and pained second. It is not an entirely bleak song, yet it does explore a very big tragedy. Addressing a subject like Grenfell allowed Elbow a chance to do something new and combine angrier lyrics with a composition that is more dislocated. I do wonder what Guy Garvey and Elbow make of Britain today. It is clear he is dissatisfied with the leadership of Theresa May and how she reacted to Grenfell. One feels he is dismayed at the current Government and everything that is happening with Brexit. One also feels he would like to see a stable Labour charge; politicians who can affect change. Back in 2015, Garvey was asked about Jeremy Corbyn and his thoughts: 

 “There’s so much he’s excited about, he says, not least politics. Is he optimistic about Jeremy Corbyn? “Course I am. I follow his fashion. I’m going to bust that blazer out with the patches on the elbow. I’ve got loads of that kind of wardrobe. The more successful he is, the more compromises he’ll have to make, and I hope people won’t be too disappointed when he does. He’s got every chance of being leader of the country. It’s brilliant. It made me very happy.”

Meanwhile, he’s getting increasingly involved in the politics of music, trying to ensure today’s musicians have a chance of making a living. A few years ago, he worked with the Musicians’ Union to get the law changed, so that landlords didn’t need a licence to have a couple of people play in their pub. Now, he’s trying to get the Noise Abatement Act changed, so that residents can’t move into an area and have established venues shut down. On his weekly Radio 6 show, he asks listeners to request songs he hasn’t heard, to boost the profile of little-known artists”.

It is clear that, then and now, Garvey is striving for justice and is someone who wants to help make a difference. I think Elbow are champions when it comes to lesser-championed souls, seldom seen kids and ordinary people. The band’s lyrics often reflect communities and neighbourhoods; various elements of Garvey’s own life and the sort of scenes the Elbow boys grew up around. Elbow never sit back when it comes to justice. Whether it is Garvey’s fighting with Musicians’ Union or Elbow assessing the Grenfell tragedy on White Noise White Heat, one feels they want to see radical political change and improvement very soon – as do we all! At a very difficult time for Britain, a lot of artists are putting into words their feelings regarding the situation and splits we are seeing. Giants of All Sizes has some fears and anxieties, but one gets a feeling and hope, that has always been evident in Elbow’s music. I think one can write in an optimistic way, even if it seems like there is a lack of hope in society.

That brings me onto an interesting consideration. I think Manchester bands have often been tagged with labels concerning tone and mood. Many are viewed as being quite miserable and downbeat. Look at legends like The Smiths and The Stone Roses, and many people feel like Elbow are forlorn or pessimistic. I don’t think the band have ever been like that. It seems like a lazy tag to apply to Manchester bands. Perhaps we feel like, as a lot of the bands there are working-class, they are reflecting a slightly grimmer reality compared to a wealthier South. Again, that is a flawed and stereotyped view. Cities like Manchester are thriving and buzzing and, whilst there are struggles and deprivations in various areas of the North, so many musicians from the area are producing positive, hopeful music. I think Garvey has been asked about the miserabilist tag in interviews and how he feels. Elbow are expansive and always-changing, they are always rooting for positive change and they are, I think, a band who have always been able to bring joy and strength to people. I usually do not bring other reviews into my own work, because I feel it sort of distracts from my own words. That said, The Guardian’s Alexis Petridis raised an interesting point regarding Elbow and Giants of All Sizes Is their warm music something that is alien at a time when many feel quite devoid of energy and optimism?

“The music similarly plays against type, or at least the popularly held view of type. When they first started attracting widespread interest, one of the most frequently remarked upon things about Elbow was the band’s unabashed love of progressive rock – still a ballsy thing for a hotly tipped alt-rock band to admit 20 years ago. Its influence has never really left them – on any given Elbow album you’re never that far from a song that sounds shimmering, aching but uplifting and suggestive of long teenage hours spent listening to The Carpet Crawlers by Genesis on repeat.

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But it’s more prevalent here than ever. It’s telling that Giants of All Sizes is being released as a limited edition single track CD, as if it’s a suite of songs, rather than a collection of them.

It’s debatable whether Elbow’s patent brand of warmth and optimism really is redundant in the current climate. One of the striking things about Nick Cave’s rapturously received Ghosteen was how empathetic and hopeful its songs sounded, potentiated by the fact that empathy and hope are two things in short supply at the moment”.

Before moving on, I wonder whether Elbow will use Jesca Hoop more. That sounds like a bit of a tangential leap, but she is featured on Dexter & Sinister (from Giants of All Sizes) and adds an ethereal boost. In fact, it is not such a deviation. What Elbow have done on their latest album is to mix the sort of dismay and confusion many of us feel, balancing that with their traditional blend of empathy and strength. I do think there is this assumption that, as we are going through some tough times, artists need to reflect that; something buoyant or optimistic might seem jarring or futile. With heavenly vocals from Jesca Hoop, I think Elbow have added new layers and colours to their music. I would love to hear her on future Elbow recordings as you get this lovely blend between her and Garvey. Maybe she would not be a full-time member, but I think Hoop balms wounds and elevates the senses. In any case, I think we do need music that goes beyond the achingly real and politically motivated. If all we hear is music that is downbeat or too concerned with addressing schisms and turmoil, the effect that has on us is quite evident. I do think we can all do with a sense of togetherness and uplift because, let’s face it, the world is not entirely bad, and positivity is just as relevant and factual than a feeling or division. Artists and generations have faced worse struggles than what we have now, and they have managed to combat that with music that gets the smiles formed and the blood racing. Elbow never shy away from reality and what is happening around us, yet one feels like they all want us to feel and express more empathy.

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When reviewing White Noise White Heat, one is struck by the lyrics and the impressions they leave. I shall come to that but, when White Noise White Heat starts up, there is this definite sense of energy and rouse. Whether the band were trying to articulate the sound of a brass band or a march, you are definitely stirred by an introduction that gets right into the blood. On other tracks across Giants of All Sizes, Elbow employ elements of different artists (they even go a bit Fleet Foxes at times), but I think White Noise White Heat is one of their most original creations. It begins with that kick and spark; a spirit that seems to have d dark edge to it. It is hard to articulate just how the introduction makes one feel but, instantly, images start to come out. When Garvey approaches the microphone, his voice carries a lot of weight, intent and emotion. He never cracks or gets too angered, yet you can sense this pain and sense of disenchantment. “I was born with trust/That didn’t survive the white noise of the lies” provokes all manner of possibilities. There is, as Garvey announces, the white heat of lies. Knowing that the events from Grenfell provoked the song and was on his mind, you sort of apply the lyrics to the Government and how they have (mis)handled things. Being Elbow, there is a mix of direct lyrics and the more oblique. After the incendiary and urgent opening lines, Garvey sings: “I tally catalogue and hold to the light/Forgotten scenes of love…”. Backed by a slightly off-kilter backing vocal, there is this eeriness that hangs behind; a spirit in the breeze that adds weight and chill to the song – also, there is a lot of beauty to be found. In some ways, one is reminded of John Lennon’s compositions for The Beatles (‘The White Album’) of 1968. Both sparse and almost choral, you have a track that is hard to easily define and absorb in the one sitting - it is advisable to listen to White Noise White Heat a few times through.

As one would expect from Elbow, the connection between lead and the band is incredible. Garvey turns in one of his most passionate vocal performances on Giants of All Sizes, whilst the composition provides endless nuance – so much is hidden on the first listen and you get these revelations as you keep listening. “I pick the broken dreams that hang in city centre trees” and “I just wanna get high” (the last time I heard that in a song is in Brittany Howard’s track, Get High, from earlier this year) are very different lines but are hugely powerful. The former seems to suggest a man who is looking through a wreckage and noticing debris that was once beautifully and hopeful; the latter indicates Garvey’s need to either be happy and return to a former state or just let things go. White Noise White Heat has an incredible percussive backbone, some tasty little riffs and stunning bass. The composition is so full of life, character and physicality, you listen to the song and transpose yourself into the scenes. The hero seems cast aside and helpless to save what is occurring. He tried to save the world and had a sense of certainty long ago. Things have changed and now he is a Blarney Mantovani (whatever that is?!); there is a degree of optimism escaping and how can one reconcile a stability and comfort against the atrocities happening around us; when leaders could act and make a difference. The sound of White Noise White Heat will be familiar with Elbow fans because, whilst the themes and feel of Giants of All Sizes is a little different to their previous work, you get a sound that is familiar and has Elbow’s hallmarks. Garvey, as I said, seems at his most emotive and impressive. The lads create this composition that has march and rain but there is plenty of rhythm and smoothness. It is a curious thing, and a sound that perfectly complements the lyrics. There are a lot of stunning songs on Giants of All Sizes but none that are as immediate and timely as White Noise White Heat.

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I do not have time or space to review their album but, if you can, go grab a copy of Giants of All Sizes (link is at the top of this review) and experience a treasure trove of exceptional songs and some of the best compositions I have heard ion years. Elbow are so together and as-one; they seem to be this single organism that continues to stun, flower and excel. The band will be playing around the U.K., so if you get the chance to see them, ensure you do. I have only heard them play live on the radio, but they sound absolutely incredible! Maybe it is the kinship and the fact the band know one another very well. I feel like, to Elbow, music means more than anything. It is a way for all the members (Guy Garvey, Craig Potter; Mark Potter and Pete Turner) to express something mere words cannot – I know songs have words but, what I mean is (songs) are more powerful than conversations. Giants of All Sizes is a triumphant work and one that is a little different to some of their earlier work. Some say they miss a slightly rowdier Elbow, whilst others think their current sound is better. Elbow are, as I said, always moving and cannot be predicted. At the heart of their work, there is a truth and sense of universality. We can all relate to their songs and get something from the magical music. I wanted to review White Noise White Heat, but there are so many other tracks on Giants of All Sizes that sort of knock you back and inspire a torrent of emotions. Go and get their album, go and see them live and celebrate a band who are…

 PHOTO CREDIT: @ShootTheSound

ALMOST like national treasures.

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TRACK REVIEW: Angel Olsen - Impasse

TRACK REVIEW:

 

Angel Olsen

Impasse

 

9.3/10

 

 

The track, Impasse, is available via:

https://www.youtube.com/watch?v=kWUtALx9i14

GENRES:

Indie-Country/Indie-Folk

ORIGIN:

North Carolina, U.S.A.

The album, All Mirrors, is available via:

https://open.spotify.com/album/0RedX0LZkGUFoRwFntAaI0?si=V_1NfdyhR0mH3wdji2nL9w

RELEASE DATE:

4th October, 2019

LABEL:

Jagjaguwar

PRODUCERS:

John Congleton/Angel Olsen

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I intend to re-cover a couple of themes that I have addressed…

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 PHOTO CREDIT: Taylor Boylston

in previous reviews when talking about Angel Olsen. I will come to her new material in a bit but, before getting there, I want to discuss a few other topics. I want to bring in Olsen’s relationship with her fans and how there is a difference between artists who have a bond with their fans online and those who remain relatively aloof. I also want to talk about transition and how, in 2019, we are seeing more albums explore that look into an artist’s heart and explore a darker side. I also want to mention Angel Olsen and her attachment to music; whether the politics of our time will affect her future and how her fans are reacting; a little about Olsen’s sound in the context of 2019 and where she might go from here. There are some artists who remain a little quiet when it comes to their fans. I can understand how, in an Internet age, some of the slightly older artists are more traditional and, either do not use social media, or they keep their interaction to business matters. I think any artist who has an online presence is great, but one does see a split between those who are active and collaborative and those who sort of back off a bit. There is a lot to be said for reaching out to fans and having that relationship. We live in a time when few fans writer letters to artists; where we have that physical connection and closeness. I follow quite a few artists online and it is wonderful seeing them update their pages and keeping everyone informed regarding what is happening. Olsen is someone who garners a lot of affection and has a  closeness with her followers. You can go to her Twitter page – the link is at the bottom of this review – and she answers questions and shares stories. There is a danger of being too open or giving too much away; the riser in trolling is evident, but Olsen’s fans are hugely loving and supportive.

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 PHOTO CREDIT: Amanda Marsalis

More than anything, one gets the feeling Angel Olsen is accessible and has a grounded quality. She has experienced some bad times (more on that later) and does not want to exclude and push away her fans. What you find is this great artist who is always happy to answer questions; to treat her fans like family and have that connection. The fact Olsen is pretty open, humorous and real gives her music something powerful and relatable. You do get artists who seem distant online or do not have the time to have that relationship with their fans. That is okay, I guess, yet the power of seeing an artist go online and speak with their followers is amazing. Angel Olsen has no ego (or it doesn’t seem like it) and she is writing music that cuts to the heart and really gets into the head. She has built up a steady fanbase, and there are several reasons why she is so popular. Not only does she come across as very friendly and compassionate; the way she opens in interviews and puts her story on the page is also very powerful. I am glad Olsen is growing and building a healthy foundation. She is one of these artists I can see dominating festivals and getting some huge gigs very soon. She has a fantastic sound and is resonating with so many people around the world. Apart from Olsen being a pretty awesome human and being very real, the quality of her music is up there will the very best of the best. I think she is able to produce this sensational and peerless music because she digs deep and is unafraid to reflect what is inside of her. Some artists do get nervous when being too honesty and raw, feeling they will give too much away or they feel exposed and vulnerable. More and more artists are talking that step and are discussing their life in a pretty naked and potent way.

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 PHOTO CREDIT: Kyle Coutts

Angel Olsen has being pretty revealing in interviews regrading her past and how she has had to face change and struggling. I don’t know whether it is because more people are talking about mental-health and are being encouraged to open up; Olsen is someone who gives us a window into her life and how things have changed over the past couple of years. In interviews, she is warm and fascinating, but you also get someone who is very honest regarding her life. It seems that after her last album, My Woman in 2016, Olsen had to shoulder a lot of hurt and change. Maybe it was the pressure of this rise and the fact she was garnering so many great reviews and so much celebration. Regardless, as she explains in this interview with The Times, her life did undergo this almighty shift:

“My Woman received rave reviews, but in the summer of 2017 everything went to pieces. Olsen was playing at bigger festivals with the backing band she had hired. At Primavera Sound, in Barcelona, she says she will “always remember how 10,000 people were quiet for us”. Even so, she couldn’t enjoy it. She was struggling with personal issues at the same time as trying to be a band leader.

“I was dealing with a lot of emotional stress and relationship problems in front of my band, and trying to hide it from them,” she explains, “and they thought it was happening because I was upset with them. I’m not saying I’m a struggling alcoholic, but I was drinking to self-medicate.” They started off as her friends, then their relationship shifted. Eventually, she concludes: “We stopped talking to each other.”

She often wonders whether she feeds off that turmoil, especially when it comes to songwriting. She has calmed down a bit, fired some members and hired new ones, and found more balance. But still she asks herself: “‘Do I instigate trouble in my life so I can write about it?’ This is the eternal question. It definitely felt at times that I was a tortured artist and I got really excited about the drama of it.”

PHOTO CREDIT: Amanda Marsalis 

All Mirrors is a lot to do with turning the looking glass inwards and owning up to her dark sides, as well as finding “peace” in solitude. She wrote and recorded the songs alone, and intends to release the album in a stripped-back version next year.

The album is doomy, gothic and sultry, but it is also hopeful. “I’ve always been obsessed with things ending, and death,” Olsen says. “A lot of that has to do with being raised by older people who are sick a lot.” She was adopted aged three, and her parents are now elderly. “My mother had surgery when I was 14, and she could have died. It’s helped me to appreciate time in a different way”.

Now that she has come through the other side of a rocky and unsure period, she is sort of looking inside herself and trying to find answers and catharsis. It might go a bit far to say her music is therapy, yet one gets the feeling Olsen has been able to tackle demons and find clarity through songwriting. Olsen, it seems, is natural curious when it comes to finality and death, but one could not help but sympathise and support her when she was going through bad times after My Woman. It is quite rare, even for a solo artist, to record and write songs alone. So many solo songwriters have a group of musicians, producers and writers helping them craft music. One can say having too many bodies around means the music loses focus and it is not as personal as it could be. The reverse is also true: if one is alone, does that mean the music lacks something or is a bit too personal? It seems like Angel Olsen needed to be on her own to process solitude and get that distance. She was communicating with fans but, when it came to creating and getting her music down, it seemed like a degree of separation was needed.

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Even though Olsen has had to transition through hardship – a little more on that a bit later -, she has that undying love of music and its power. Music is transformative, and I think that is a reason why she receives so much love and interaction from her fans. They can hear a woman who is similar to them and is talking about things that mean a lot to them. Of course, even if an artist is direct and unguarded, that does not mean the music will resonate and appeal to everyone. It is hard to tick all boxes and cross borders. So many artists have their own fanbase and limits; they are not as wide-ranging as others and they struggle to speak to everyone. There is a select few that can do it all and create music that gets into the heart of the masses. Angel Olsen is one of those artists. She has a real desire for a sense of truth and beauty; a serious passion for music and writing that you can hear in every song. All Mirrors is rich with detail, nuance and beauty. There are darker moments, but they never seem too heavy or suffocating: instead, you are getting into the soul of a very brave and passionate woman. I wanted to bring in an interview from GQ, Olsen recently conducted where she talks about a variety of subjects – I shall come back to it a little later.

 “I love playing music and I love writing, but the processes of writing and performing and doing photo shoots—they're all fun in different ways and they all teach me about myself and make me reflect about other people and other writers and other music, but too much of it drives me insane. It's difficult to keep in touch with people, and feel known and to know people.

So I think a lot of the songs came from the isolation that I felt and the irony of becoming successful, somewhat, and known in this way that I'm now responsible for. It's been really good for my life, but it's also been isolating and a little weird. In my experience, people forget to check in because they think, “Oh people love your music and you’re doing really well. You must be doing really well. You must feel on top of the world.”

That last sentiment and expression is quite sobering. I have mentioned how Olsen has this bond with her fans, but in the real world, it seems like there is an assumption that she is okay because her records sell and she is popular. Social media is a way of correcting that assumption and being pretty open when it comes to the reality of life. Olsen’s fans are very open, yet you do get people who will be negative and attack that honesty – there are problems when one shares too much online. I digress, of course. I think Olsen can express a lot of herself through her music. It seems like this very noble calling for her and, when listening to the music on All Mirrors, one is struck by the power and beauty. I think music is more than a way of processing and understanding emotions when it comes to Olsen. It is more than simply expressing herself and being honest. If her latest album is about looking inwards and trying to find a degree of resolution, I feel her music is hugely important to others. I think Olsen writes music with an expressed desire to help others and make them feel less alone. Maybe I am over-reaching; one feels this artist who wants others to feel understood and take something very important away. Not every artist approaches music this way. Olsen knows how powerful music is and how helpful it can be to people going through some challenging times.

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Although Olsen is based in America and might not have the same problems as E.U. artists will post-Brexit, it does seem like the political climate is impacting her fans. Everyone has an opinion regarding the changing political landscape and how it affecting our values and connection. People who were once joined and harmonious are split and balkanised. One cannot avoid politics and the developments regarding Brexit. Olsen has travelled to Europe and has a great affection for her fans there. She has noticed a change in the mood. I want to bring in another few questions from the GQ interview, where Olsen was asked about touring and politics:

“Do you enjoy the travel component of touring, or do you find yourself wishing you were home?

What I don't love is when I do a European tour and then two weeks later I go back to Europe. That is not cool. Like, Europe and I need to take a break from each other. Europe is a lot of different cultures and every day there’s a different story. That’s very humbling. You experience xenophobia everywhere in different forms wherever you go. You’re faced with being an American in the country we’re living in now.

I was talking to a friend today, when I was getting my hair done, [about] how when I go to Europe, it’s such a reminder that we’re still living in the ‘50s in a lot of ways. The world is actually not progressive. You end up missing the United States because there is at least the false sense of progressiveness, even though it’s not really true here either.

Everyone wants to talk about the President being this influencer who’s changing the way people think, but it’s also eye-opening to see how many people are still very, very conservative, and it’s really scary. That’s what I mean by missing [this] country, because it at least puts up a façade of progressiveness. But then we’re living in this time where that’s being pulled away. Young people are more active and more aware politically, but at the same time I’m also seeing young people becoming more and more conservative.

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PHOTO CREDIT: Bobby Doherty 

You see young people becoming more conservative in Europe, or in general?

In Europe I feel like it’s always been that people are very upfront about their racism and classism. Whereas here, I feel like people are starting to say it more.

Does that change the way you approach your music at all?

I hope that my songs are reaching people in a way that’s powerful because I want people to have an escape, even if it’s just for a couple minutes. For me, when I listen to music, it completely takes over my world. It’s my way of meditating”.

It is odd someone would feel more secure and safe in America when we consider Trump and his leadership, but Olsen is talking more about the mindset of the public in the U.S. In Europe, we have this feeling that we are moving forward and to something better and, in truth, we are heading backwards. I do wonder how Olsen’s European fans will be affected in the future. Even though they can still travel, one is not sure how artists are going to be impacted after Brexit on 31st October. Will she be able to travel freely and moving between countries without issue? I guess America does provide some stability, in the sense there are no upcoming changes that will impact the country in a huge way. She can travel across the U.S. like she has and, when speaking with people, there is not that delusion this big change is good and makes for a stronger country. Naturally, with Trump in power, hope is a far-off thing, but the people of America do not have to process something as divisive and destructive as Brexit. It is a bit of a sorry situation and it is troubling to think how the musical landscape will change very soon. I shall come to my review very soon but, before getting there, I want to introduce a new subject.

Angel Olsen’s music is pretty revealing and is unafraid to expose its wounds when needed. There is also a sense of hope and light when you hear the music. I do think there has been this big shift regarding mood and tone at the forefront. Listen to artists of the moment like Kate Tempest and Dave, and you have this very timely music that is looking at the state of the U.K. and the wider world; how people are being caught up in miasma; the struggles we all face and how things have gotten harder and tougher. It sounds rather bleak but, in its anger and honesty, there is a call for awareness and action. Rather than be all dread-like and doom-laden, these artists are talking about the importance of people, community and hope. We are going through something transformative and unprecedented right now, yet there is something positive when we cast aside our differences and pull together. Gone are the days of big Pop anthems and a music culture where artists tackled change and darker times with positive, emphatic music. Maybe that is just the way things are but, as I say, inside the music of today there is a humanity and sense of hope that we do not talk about. Even when one witnesses an album as emotionally raw and draining as Nick Cave & The Bad Seeds’ Ghosteen, you find a yearning and desire for better times. I think the best music of 2019 concerns political awareness and personal openness. Angel Olsen’s All Mirrors very much fits with the sound of today. She knows how important it is to be honest and discuss tougher themes; there is this overriding arc of strength that makes you feel like Olsen has emerged from the album a stronger and happier person – I hope so at least!

There is a great selection of tracks on All Mirrors, but I wanted to review Impasse. The song begins with a fade-in that has a degree of shimmer but there is also something quite intense. One gets a combination of Lana Del Rey and Bernard Herrmann in the song. There are background strings that do not encroach, yet there is a sense of drive and fever that affects the foreground. Olsen’s words are slowly projected and you get to feel every word. Her delivery is quite breathy but there is also a lot of emotion packed in. “Go ahead, tell your friends I was wrong/Take it all out on me/I’m too caught up to see/Everyone will believe…” are intriguing words and it makes me wonder what Olsen is referring to. It seems like Olsen is being cast as a villain or blamed for something that is not her fault. The truth of reality and how people interpret her; it seems they know what is best and what the truth is. Without revealing the origin of the story and what has provoked the song, the listener is free to interpret and bring to mind certain images. Given the sense of drama and tension in the composition, I was imagining Olsen, alone, as she looks through a window harassed and pummeled by rain. Maybe she is pondering something that has gone down or feeling like she is alone. Impasse seems like a song where two people have been sparring and conversing and cannot reach a compromise. It is like listening to a game of chess and seeing these moves being played; a sense that there will be no winner from this situation. I do love Olsen’s voice because there is this sleepy quality that is actually very powerful. One can feel a seductive, alluring quality that draws you in and a real weight in her delivery. The composition continues to provoke shivers as the strings contort and yowl. Other artists might put the strings higher in the mix and it would crowd the vocals and seem too intense.

 PHOTO CREDIT: @cameronmcool

Instead, Olsen has this song that puts beauty and stillness at the front, but you have a very different sound in the background that gives the lyrics new context and life. The lyrics “You think this is what I wanted when I said/I’m just living in my head”. Maybe someone has abandoned Olsen or been aloof because they feel she is pushing them away or needs some space. It seems like Olsen has a lot on her mind and is getting tied up in her own thoughts. Rather than be alone and want everyone to go away, she does need that support and has been left to tackle things alone. That is the way I see the song, anyway. The more I listen, the more powerful Impasse becomes. When she delivers words of misunderstanding and living in her head, the composition rises and provides crescendo. There is a heavy beat and the strings become more enraptured. One cannot help but feel the hit of that emotional intensity and the power of the delivery. From a slightly breathy delivery, Olsen unleashes something inside her that was hidden or quieter. Impasse gets heavy like a wave and you are immersed in this hugely forceful song that does leave some questions. It is clear someone has wronged Olsen, but I wonder whether she is referring to a friend who has not been true or whether it is a lover who has not been supportive. Whatever the truth, Impasse is a fantastic song and one of the brightest gems from All Mirrors. It is clear Olsen is one of the most impressive and interesting songwriters around. If you have not heard All Mirrors, then I suggest you get onto it as it is filled with terrific and memorable songs.

There are European dates coming up next year, and we would have emerged from Brexit by then. I hope there are no problems regarding touring and getting between the nations. It will be interesting to differences between the mood now and what people feel like post-Brexit. I do think there will be negative changes but, actually, I do feel like there will not be too many challenges when it comes to movement and travel. Many people are already looking forward to these 2020 dates and, right now, there is so much love out there for Angel Olsen. She is this very rare artist that can appeal to everyone and does not have a façade. Olsen’s music is dreamy and beautiful; it holds great power and is very honest. In interviews and online, Olsen comes across as accessible and very tangible. A lot of artists can be quite standoffish and cold in interviews. Olsen is very warm and interesting, and she is going to be a huge star of the future. There are tour dates and commitments coming up, and I do think Olsen will get some big opportunities in 2020. There are big festivals like Glastonbury and Olsen will surely be a part of that conversation. I predict Olsen will release a fair few albums and get a lot of big tour dates. If All Mirrors was a way of processing things that happens after My Woman and how her life changed, it will be interesting to see what her next album sounds like. When reviewing artists like Angel Olsen, I sort of wonder what their lives are like away from the music. Olsen is a fascinating figure and is writing truly incredible music. I hope Olsen is more settled than she was in 2017 and that she is happy. It seems like music is a vital outlet and a way of making sense of, not only personal struggles, but what is happening in the wider world. Keep your eyes peeled on her social media channels and see where she is heading in the coming months. 2019 has been a terrific year for music and there have been some truly sensational albums. All Mirrors ranks alongside the very best and will definitely be in the year-end lists that celebrate the best albums. Olsen, truly, is a simply…

 PHOTO CREDIT: Bobby Doherty

WONDERFUL artist.

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Follow Angel Olsen

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TRACK REVIEW: Nick Cave & The Bad Seeds - Waiting for You

TRACK REVIEW:

 

Nick Cave & The Bad Seeds

PHOTO CREDIT: Matthew Thorne 

Waiting for You

 

9.8/10

 

 

The track, Waiting for You, is available via:

https://www.youtube.com/watch?v=GF43RrFmpb0

GENRE:

Ambient

The album, Ghosteen, is available via:

https://open.spotify.com/album/6UOvMBrdfOWGqSvtQohiso?si=IYG5R6MERsymFddhtMijLg

RELEASE DATE:

3rd October, 2019

LABELS:

Ghosteen Ltd./Bad Seed

PRODUCERS:

Nick Cave/Warren Ellis

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WHEN thinking about…

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 PHOTO CREDIT: Amelia Troubridge

Nick Cave & The Bad Seeds, there are several different things to cross off the list. The band have released a new album, Ghosteen, and it sort of came out of nowhere! In this review, I want to mention a few things. I will explore albums that are beautiful and uplifting in spite of darkness and personal loss; artists such as Cave who experience tragedy and remain inspiring, strong and creatively fascinating; Cave’s bond with his audience and how that has shifted through the years; the nature of album promotion and why Ghosteen should give other artists inspiration; a bit about the power of music to bond music and join strangers together – and how that manifests on social media. I will start by discussing Nick Cave & The Bad Seeds’ latest work. I will discuss its sense of surprise and how we were not expecting it later, but first I want to discuss something that many reviewers and fans have picked up on: how incredibly beautiful it is. There are various phases of the band’s career, and I think the last few albums have gravitated more towards more emotional, tender music – some of the earlier work has more strut and energy to it. That might seem like a natural evolution, but I think Cave has changed as a writer and is coming from a different perspective. I will come on to the death of his son, Arthur, and how that informed the sound of Skeleton Tree in 2016. Maybe that was a point where Cave had to dig into the soul and work from a darker space. Despite the hurt and loss, he has experienced in the past few years, Cave’s music with his band has been a source of help and solace for many people. Doubtless, Ghosteen is a gorgeous album that ponders subjects such as loss, but it is much broader than that. There are songs that have a spiritual nature and there are some that are deeply personal. Everyone will take something different away from the album but, as you will see from my review, there are certain songs that will hold greater weight.

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 PHOTO CREDIT: Muir Vidler

I do think there is a lot of anger percolating and pooping in music now. The onslaught of bad news and division has affected us all and we are all sort of in this mindset where it is hard to find light and happiness. Whilst there are few overtly positive albums and songs around this year, there are artists who are finding structure and hopefulness in black scenarios. Cave is someone who has a very productive and pragmatic approach to bleaker times and situations. His music does not shy away from the challenges and realities of loss and acceptance, but there is this overriding feeling of beauty, togetherness and future that you get ion spades. He embraces and absorbs everything but, when putting pen to paper, I get the feeling Cave wants the listener to feel like there is salvation and hope out there. It is hard to distil my words because, when one encounters an album like Ghosteen, you are sort of knocked backwards and struggle to take it all in. For sure, one needs a good long time to really grapple with the record – it is a double album – and ensure the songs resonate. Just listen to the instrumentation throughout Ghosteen; the power and emotion that comes from Nick Cave’s voice and you experience something truly spellbinding. In a way, Nick Cave is like Scott Walker at his genius best: someone who can say so much with his voice and produce these symphonic, sumptuous songs that instantly hit the heart. I have found that a lot of music this year has angled itself towards anger and outrage. That is fine, given the situation we are in with this country, yet I wonder whether, in order to be honest and raw, artists have forgotten to add a note of optimism – that we can see improvement is we pull together. Maybe that sounds naïve; it can be draining hearing so much anger and negativity. Nick Cave & The Bad Seeds’ latest album is a wonderful tonic that is sure to speak to so many people and give them strength and hope.  

Cave’s son, Arthur, died in 2015 and it had a huge effect on his work and life. Skeleton Tree reflects on some of the anguish and desperation he went through. Songs like Fireflies put Cave’s voice firmly at the front. It is one of Ghosteen’s best tracks and, even though it seems quite haunting and hopeless, there is a sense of light. It is a wonderfully immersive and moving track – there are so many examples like that throughout the album. A few years has passed since Cave lost his son and, whilst it is not the reason why his music is more searching and tender (although it might play a role), I am amazed that he has found the strength to produce such coherent, stunning work. As I have been saying, we are living through a time where we do not know what is going to happen and the world around us is being reshaped and damaged. It is understandable that artists would respond with anger and a feeling that hope is being sucked away. Even when Cave is singing about humans being, essentially, fireflies pulsing in the darkness, one can take something humbling from that. Rather than feeling like we are floating hopelessly, and we are small in a chaotic world, I felt a sense of tranquillity; there is this aura of calm that soothes the spirits yet, inside that song, there are some very powerful images. All the songs on Ghosteen have so much going on. Even if the compositions seem quite bare and minimalist, they hold such impact and purpose. I am not sure how long it took to put the material together, but it seems like so much craft and thought went into it. I shall not quote other reviews; it is plain to see people adore the album and Nick Cave & The Bad Seeds have produced what is, perhaps, their finest work. That is a bold claim, I know. It is hard to deny the sheer wonderful and tingles one gets from listening to the material. It is an amazing work and I feel like the true effect of Ghosteen will be felt years down the line. Maybe it sets an impossibly high bar for the band when it comes to another album. They will not worry about that just yet. The fan reaction so far has been intense and overwhelmingly positive. Maybe there is something about the wider world and how artists are tackling a universal sense of uncertainty and fear. Rather than plunge us into complete darkness and wallow, Cave mixes loss and grief with some of the most passionate and personal performances to date. One comes away from Ghosteen and feels lifted and strengthened. Sure, the echoes of the songs remain and there is a lot of deep emotion to produce; the abiding feeling and takeaway is of enlightenment and personal nourishment – that is what I felt, anyway! I shall move on to another topic soon, but I was keen to talk about albums that appear quite oppressive or heavy-going on the surface yet have positivity and edifying quality. I know other artists have done similar things with their albums; none has come close to the resonance of Ghosteen.

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 PHOTO CREDIT: Anton Corbijn

It is worth moving on to another subject that sort of strays away from the material as such. Now, Nick Cave is hosting intimate talks with an audience and the Conversations with Nick Cave tour was hugely successful and applauded. From the more talk-based shows, Nick Cave is heading on the road and will play a lot of the new album for audiences. Now, we see this artist who clearly loves his audience and wants them to feel involved. As this article explains, things have not always been smooth and harmonious between Cave and the crowds:

“When the band arrived in England in 1980, they landed with a thud of disappointment. The world they read about in NME back home in Australia failed hopelessly to live up to their expectations and they found themselves at the centre of a musical scene they largely loathed (with the exception of allies such as The Fall and The Pop Group). Combined with the arrogance and fury of youth, this saw a level of contempt brew and manifest from Cave and co. towards their new audience. At a 1982 performance, a growingly restless crowd broke out into fights amongst themselves as the band waited to go on. As a flustered promoter rushed backstage to inform them of the escalating tension, Cave replied: "Good. I hope the pigs kill one another."

By this stage people were actively attending shows to cause trouble and they would often get back what they gave. One performance was interrupted by a fan that got on stage to urinate on bass player Tracy Pew whilst he was playing, only for Pew to hammer his bass into the head of the offending pisser and send a stream of blood oozing down his face. Punches and kicks were often exchanged between band and audience and one fan called Bingo - who had taken offence to comments Cave made in the press about English audiences being stupid sheep - decided to make it his mission to torment the band. This came to a head one evening when Bingo decided he would breathe fire at the band whilst they were performing, bringing with him his own bottle of meths and spewing a DIY fireball in an attempt to engulf the band. Such maniacal behaviour led the band to hire Bingo as their minder - as someone ready to pounce on stage and brandish a metal pipe at any audience members crossing the line as he once had.

By 1983 in one of Cave’s last major interviews before The Birthday Party broke up he told NME: "I don't know of another group who are playing music that is attempting in some way to be innovative that draws a more moronic audience than The Birthday Party. There's always ten rows of the most cretinous sector of the community".

The live shows now are a changed affair and, when circling back to his recent conversational tour, I want to bring in a review from back in January; where we get an insight into the questions asked/answered and how, even though Cave is a lot closer and harmonious in terms of audience interaction, there is still a bit of the old flame inside him: 

 “Our interactions fall into three categories. First, when he quips back: many are gently teased by Cave tonight. In these moments he’s “as funny as a circus” (that’s my dad, who I took, not Nick). “Maybe you don’t need to clap after I answer each question?” Cave suggests. “I start to analyse the volume of each clap and, well … ”

The second is when he latches on to a topic and answers with depth and honesty. It’s like a late-night D&M with a mate – only the mate is Nick Cave and we’re yarning with the lights up amid a cast of thousands. “We’ll all live two lives,” he says in response to a comment about David Bowie’s final years – when he was facing mortality and reaching out to connect with fans. “In his first life, he did what many of us do and put himself forward as an individual … then later he looked for something communal and collective. It’s what happens to us all … I think we’re united by suffering.”

The “great thrill” of the creative process, meanwhile, is when something “starts to emerge from meaninglessness even when you don’t see it at first. To be a creative person requires most of all, faith. Faith the moment will come. And when it does you can see it vibrating in front of your face”.

The third category of interaction is tidbits about his music and collaborators. “It’s really about loss, the Bad Seeds,” he says. “It’s hard for people to look at them and not see the absences, now, of some towering figures.” He names some who’ve died and some who left the band: Blixa Bargeld, Conway Savage, Barry Adamson and Kid Congo. He talks about Brett Whiteley, Shane MacGowan, Tony Cohen”.

Let us move on and address another subject because, as I am sure, I need to cover the music itself. There is a remarkable aspect of Ghosteen that has made its arrival and brilliance all the more defined and extraordinary.

 PHOTO CREDIT: Muir Vidler

Whereas so many albums are flogged to death ahead of time and you get Instagram posts galore, that was not the case here. Nick Cave is not the sort of artist who puts endless teasers out but, apart from a few little bits here and there, there was not a lot of build. The announcement was made a few weeks back and, as the article explores, there was plenty of intrigue and enigma:

“Cave told a fan that Ghosteen is a double album. “The songs on the first album are the children,” he wrote. “The songs on the second album are their parents.” Cave also said, “Ghosteen is a migrating spirit.” Find the tracklist and cover art below. The band’s last album of new material was 2016’s Skeleton Tree”.

I love the fact Cave sort of made the announcement after a fan asked a question regarding future material. I wonder what would have happened if that question had not been asked. The album would have come out, of course, but I am interested how the announcement would have been made. In these days of oversaturation and long-winded campaigns, I love it when an artist sort of gives us a tiny bit of warning before an album comes. Unfortunately, as a lot of smaller artists rely on teasers and need to build momentum, I wonder if a lot of the bigger acts need to do that. After all, they have acclaim and a huge fanbase and I think there is something wonderful regarding surprise releases and not making too much of a fuss. I know Nick Cave & The Bad Seeds have not approached their previous albums in quite the same way. That said, the way they announced Ghosteen was perfect. Rather than get spoon-fed songs and fragments, there was this completeness when Ghosteen arrived on YouTube on Thursday night. The physical product is not released until 8th November, but you can pre-order a copy now. 

I will get to the review in a second, but I think Nick Cave’s recent talks and Ghosteen have helped bring together on social media. I have been checking the solo media feed and mentions of Nick Cave, and it is clear he is having a huge effect on people. Not only were some fascinating and big themes addressed and discussed on his tour; people also got to see a different side to Nick Cave. Away from the noise and the usual roar of a gig, here was a man letting people in and providing this intimate affair – even if a few questions did cause annoyance; Cave keeping his audience in check when required. I have seen so many responses online where people have been in his presence and, after hearing him talk, have found fresh impetus and guidance. It is rare one gets that from an artist; so many new connections have come off the back of Cave’s conversations. Whilst there has been some great interaction and shared experiences online after the tour, I am already seeing people bonding over Ghosteen. Not only are people expressing how the album makes them feel; they are posting comments and saying how the music is true to them – fans saying how the music is familiar and they can identify with Cave. Many have experienced loss and tragedy; the music throughout Ghosteen is going to resonate with those who need belief and direction. I know every artist can unite people and strike up conversation, but there is something almost unheard of when it comes to Nick Cave. I associate modern music with digital distraction, endless promotion and a sense of the familiar. In some ways, Cave is stripping away all the layers and baubles of modern life. The music, as I said, goes deep and there was not this months-long promotional onslaught for Ghosteen. Instead, this incredible album has bene released and people are connecting because they feel like Cave’s songs are about them; that they are moved hugely by what he and the band are saying. That is an amazingly special and unexpected gift in these times.

 PHOTO CREDIT: Muir Vidler

Whereas one might have expected something quite soothing or ethereal to open the song, Waiting for You, instead, there is a clatter and rumble of percussion that has definite rumble and intent. There is an industrial sound to the drums; a sound that seems familiar but, with Nick Cave, you know the song is not going to be a Dance tune or something similar. Instead, it is a brilliantly atmospheric moment that opens a truly gorgeous song. The piano comes in and replaces the percussion. It is slow and meditative; it has a grace and elegance but, alongside that, there is a sadness that is accompanied by hovering, elevated electronics. Before Cave sings a word, you get this picture of an abandoned scene or night-time drive. Our hero talks of the cool evening breeze and the heroine’s hair being caught and blown. Driving along, they park up by the beach. Cave’s projection is measured and slow; it allows the words to breathe and unfold as one hears every emotion and ounce of his soul going into the song. It seems that some things are better now said and it is best to remain in silence. Whether Cave is referring to a romantic moment where they are capturing the beauty of the surrounding or whether we are experiencing a tense encounter, I am not sure. One cannot help but fall for the sheer wonder of Cave’s delivery and the passion that he puts into the song. The woman’s body is an anchor that never asked to be free; she is in the business of making the hero happy. There are a number of possibilities one can extract from that but, for me, there is a slight hesitancy to this love. One could rush to visions concerning women of the night, but I think Cave’s tryst is purer, yet there is a slight fracture or pause. It makes for arresting listen as the chorus allows the song’s title to be stretched and unfolded so powerfully. Cave’s voice never seems too heavy or mordant. Instead, he is quivering with emotion and desire.

 PHOTO CREDIT: Anton Corbijn

It makes for one of his most beautiful and moving moments ever. Strings echo and shiver as Cave talks about “a Jesus freak” and a priest running through the chapel. I do wonder whether Cave meant his words to be taken literally or whether there is this sense of metaphor and imagery that symbolises a sense of turmoil and change. It is fascinating unpacking the words and trying to decipher where Cave’s mind is. This heroine’s soul is an anchor and it seems like it is keeping Cave safe and warm. It never asked to be free and, as he sings those words, I wonder whether that is a regret for both. One can interpret that sentiment and feel like Cave is reliant on the heroine and she is being tied down. I think the lyrics are referring to two sweethearts who are, maybe, in different spaces or are divided at the moment. The chorus has a real sense of desire, which makes me think the two are not together. It seems a little bit of faith can go a long way and, my mixes religious imagery and language together with vocals that are exquisitely tender and heartfelt, you cannot help but be affected by Cave’s plight. I had to come back to the song a few times and just play the song without thinking. I just let its power move me and inspire imagery. It is one of the finest tracks I have heard from Nick Cave & The Bad Seeds, and Waiting for You ranks alongside the most beautiful songs of 2019. If Skeleton Tree seems to carry a heavy heart, I do think songs such as Waiting for You have a degree of hope and feeling of betterment; like things will turn and we can recover. I would encourage people to listen to the entirety of Ghosteen, but Waiting for You really stood out for me.  

 PHOTO CREDIT: Jesse Frohman

I have already provided a link to Nick Cave’s tour dates and he will be taking the band on the road. In fact, at the moment, it seems like the Conversations with Nick Cave juggernaut goes to the U.S. and will be back in Europe very soon. Now that there is a new album out, there is going to be demand for Nick Cave and the Bad Seeds to hit the road – whether there are plans to do that between other Nick Cave dates or wait until, next year, I am not too sure. A lot of legends seem calm down and restrict their workload as the years go by. Nick Cave, by contrast, seems to grow more ambitious and wondrous with the passing of time. The albums keep on getting better and better; Cave is endlessly fascinating and engrossing. We will need some time to compute Ghosteen and let all the songs unfurl and do their work. So far, I have heard most of the album and I am going to spend the weekend going back in and listening. I know Ghosteen will be considered one of the defining albums of this year. As this decade comes to an end, maybe Ghosteen will make it into the top-ten albums of the 2010s. I will let people make up their own minds about Ghosteen, but it is clear the album is very special indeed. I shall round things off in a bit. I wonder what is coming in the next year or so for Nick Cave & The Bad Seeds. There is already speculation regarding who might headline Glastonbury in 2020 – it is the fiftieth anniversary and some big names are already rumoured. Whether Taylor Swift, Paul McCartney or Fleetwood Mac will headline – or all three perhaps; they are the favourites right now -, I am not sure. It is clear Nick Cave and the Bad Seeds need to be added to the conversation as I feel they could deliver a truly memorable Glastonbury headline set. That is all speculation and a way off. In the next few months, there will be more Conversations with Nick Cave and it will be interesting to see what questions arise in regards Ghosteen and its inspiration. Cave does not give too many media interviews, so these dates are a rare opportunity to learn more from one of the greatest songwriters in the world. I shall end the review here and urge people to stream Ghosteen. Make sure you grab a copy when it comes out in November. When it comes to this treasure of an album, one discovers…

A rare blend of heartbroken and hopeful.

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Follow Nick Cave & The Bad Seeds

TRACK REVIEW: Girl Band - Couch Combover

TRACK REVIEW:

 

Girl Band

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PHOTO CREDIT: Rich Gilligan

Couch Combover

 

9.6/10

 

 

The track, Couch Combover, is available via:

https://open.spotify.com/track/17Ch4p6r52nAkHHVBaFHIQ?si=UIlOtzEwQmCJLhTTSOh6lA

GENRES:

Punk-Punk/Noise-Rock

ORIGIN:

Dublin, E.I.R.E.

The album, The Talkies, is available via:

https://www.amazon.co.uk/Talkies-Girl-Band/dp/B07SVJ8QLJ

RELEASE DATE:

27th September, 2019

LABEL:

Rough Trade Records Ltd.

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I wasn’t able to publish this review yesterday…

 PHOTO CREDIT: Steve Gullick

because of laptop troubles and a bit of disruption. In a way, it has given me chance to spend a bit more time listening to Girl Band and get to grips with their new album. I have selected a song from the album and will talk about that but, before I get there, I will chart a few things that are important. I want to discuss mental-health and bands that face the realities of the road and life. I want to move on to coming back to touring after having time away; artists whose music has its own stamp and steps beyond the generic; a little nod to Dublin once more; a slight nod to Post-Punk and a new movement; I will step on to look at where Girl Band might head next. Let’s start with the subject of the band and the fact they have been away for a little while. Holding Hands with Jamie is their 2015 debut and it has been four years since that album came out. Their lead, Dara Kiely, has suffered from mental-health issues and that has caused some disruption in the band. It is hard today to hide mental-health issues and carry on as normal. Such are the demands of the music industry, one cannot really carry on with their regular duties and life and cope with mental-health issues – not in a healthy way at least. I think there is more awareness right now but there has not been in the past few years; awareness has come about and there is more discussion. Before going on, I want to bring in an interview from Loud and Quiet where we learn about the break the band has taken and how things seem more positive with Girl Band:

 “It’s been a fragmented few years for the band. They were forced to cancel several shows due to health reasons, and given the openness with which singer Dara Kiely had previously spoken about his ongoing issues with mental health it left some wondering if the proper return of the band will ever happen.

The band’s debut, and ensuing interviews, spoke candidly about the difficult period Kiely had been through: when we spoke in 2015 for issue 71 of Loud And Quiet he told me how he went from “pure highs to crippling lows”, staying up for a week straight, spending months in hospital, living in a tent for a while and even undergoing a temporary delusional state in which he thought he was God. The lyrics on the album were a direct reflection of this too: “Well, you’re not God mate and your mother’s scared,” he expelled on ‘The Last Riddler’. And on ‘Pears For Lunch’ he screeched: “Spend my time watching Top Gear with my trousers down. Covered in Sudocrem and talking to myself.”

Sat in a pub the band tells me about getting back together and how in some ways the long break has benefited the album. “Because we were away and not active in a public sense, it just removed any sense of outside pressure,” says guitarist Alan Duggan. “Or any feeling of: ‘shit we need to get this done by this time.’ It was nice to just be able to write and then record when we were ready. That was a really positive aspect; any momentum that people get when moving onto the second record I imagine it can put a bit of weird pressure on it, but the fact we had that time off and were able to just go back in with no real consideration of what would happen after was really nice”.

It is hard to factor in mental-health problems and continue with music. So many artists do live with psychological issues and, whilst it can be beneficial to the music, it takes a lot out of you. I am glad Girl Band are back and seem to be looking to the future. It is great to see but I know there will be other artists in the same position as them. The modern industry is so competitive and challenging that this puts extra pressure on artists to succeed and keep going. The sheer effort needed to promote a track/album is immense; so many hours go into the promotional cycle. I do worry there is a lot of expectation put onto the shoulders and it can be a really hard business. Let’s hope things improve in that respect.

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 PHOTO CREDIT: Jenn Five

Not only have Girl Band adapted to time away, they have had to get back into touring. It is easy enough taking some time off and thinking about improvement. Maybe it was difficult for Girl Band to be apart but it was needed for many reasons. What happens when you get back together and have to get back on the road? It is a whole new process getting back to your best and galvanising. That is what Girl Band have had to do. In this feature, we learn more about that problem:

“He admits to being understandably apprehensive about playing again. “We started practising a few days ago and I was a bit nervous beforehand, but then it was muscle memory and everything was fine. It’s really enjoyable playing again because we haven’t played stuff like ‘Lawman’ in ages.”

There’s a palpable sense of excitement about playing live together again, after such a long time away. This time they’ll play fewer shows (so it doesn’t feel “like a slog,” says Alan). They’re also hoping for dancing. “There’s something really gratifying about seeing a crowd dancing together,” says Daniel. “Also I don’t like mosh pits when I go to gigs – I’m like 5 foot 6 so it’s really annoying…”

It seems like the band have apprehensions about gigs in general, but it is clear the time they spent apart has affected them. I do wonder whether, alongside promotion online, there is a lot of expectation regarding touring commitments. In all, Girl Band have faced a lot and come out the other side. Now that The Talkies is out and gathering some immense reviews, they will be hitting the road hard! They are going to travel all over the place and it will be a chance to bring this new material to the people. I guess they have had opportunity to adapt and get settled back in but, still, one feels like the whole touring thing takes a lot out of them. It must be the same with most acts. Not only do you have the strain and stress of having to get the music made and heard, you then have the demands of the road and the sort of energy that requires.

The modern scene is as difficult as you can imagine but I am not down on it completely. I do think people have time to rest now and then but there is less chance than once was. Girl Band are a perfect example of a band who, for several reasons, have taken some time away and come back strong. I do think they will be cautious when it comes to date and how far they push themselves. It is brilliant they have an album out but it is all too easy doing tonnes of gigs and getting burned out. That can set them back and mean that they will need to take a lot of time off. Their music is so charged and explosive that a single performance must leave them shattered! One can only imagine the sheer demand and physicality required to complete a gig! I shall move on to another subject in a bit but I wanted to look at touring and the link with mental-health. Naturally, performance can be a release and provide great relief for artists. Whilst it is tough and draining going around the world, the connection with the audience and the bond within the band will strengthen them and give them energy. I wish the lads the best of luck on the road and I do hope they get a few days here and there to kick back and unwind. They have faced quite a lot of disruption over the years and I feel they are more refreshed and focused. Mental-health is very much in the spotlight in 2019. Contemporary bands like IDLES have documented it and, where once the subject was almost taboo, now there is a lot more exposure and interaction. I still think the music industry needs to look at the sheer weight of promotion and what an artist has to go through. There needs to be some sort of mechanism and intervention whereby acts like Girl Band are not given too many dates and are looked over carefully by labels and promoters. That might seem like nannying, but one cannot ignore the very real damage that can come from too much work and pressure.

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 PHOTO CREDIT: Rich Gilligan

Moving on to more positive and individual subjects, we arrive at the feet of Girl Band’s lyrics. I still think a lot of bands suffer the fate of having lumpen lyrics and are very restricted. It is odd seeing artists succeed when their music is so generic and uninspiring. There are no such problems when it comes to Girl Band. They capture you with their words and their music. Going beyond the boundaries of Post-Punk, the guys have their own little world and sound. I don’t want to label this as a new genre, but it is evident Girl Band have a very original look and feel. When it comes to their second album, I think they have improved and strengthened as a unit. The music seems more nuanced and there are some lovely details here and there. The performances are incredible and, to me, it is the lyrics that stand out the most. When looking at the album a couple of days back, DIY had this to say:

“Across ‘The Talkies’, the lyricist’s words are nothing less than bonkers, adding a whole new layer of surrealism to an album already dripping in it. “Gonna Barbie a Ken on a barbwire fence” is the most twisted threat we’ve maybe ever heard in song, while elsewhere he ponders, “what happened to Teletext?” and references cult Dutch footballer Jaap Stam. Comeback single ‘Shoulderblades’, meanwhile, revolves around the hook “It’s like a hat for Ed Mordake”, referencing the subject of an urban legend who was believed to have an extra face on the back of his head.

As lyric-writing started for the album, Dara decided that he wanted to set himself another challenge: to include no pronouns. “[It’s] something I always wanted to do, because I’ve never heard an album that does that,” he says. He and his band - consciously or otherwise - seem to thrive on doing things that no other band are managing or even trying. “It was really hard, but I got there,” the frontman chuckles. “There’s a lot of ‘it’s in there. I really can’t stand ‘forever and a day’, ‘catch you when you fall’ kinda lyrics, and I love the idea of making up fake cliches,” he continues”.

I am a big fan of lyrics and love the fact Girl Band have done things their own way. It is hard not including pronouns in music and setting that challenge but Girl Band did that. They are a little out-there and unique but that gives the music extra edge, surprise and brilliance. I do think the band market is starting to resurge and spike. There was a time fairly recently when bands were pretty quiet and the solo artist was ruling. I think the solo artist still has the majority share but bands are coming back. What strikes me about bands is that, in the past, the songs concerned relationships and were fairly narrow. I think we have seen this new wave of more political and interesting bands who have a much wider palette. I am not sure whether this is a sign of things to come but, as I shall explain, Post-Punk is offering a new world. One of the reasons artists remain and continue to impress years down the line is their characteristics and style. If you have bands copying one another or writing about the same thing, it gets really boring and samey. Bands now seem much more agile and are considering the music and lyrics carefully. Girl Band are among the most intriguing acts around right now. I do like the fact the lyrics are a little strange. In a way, they are a bit similar to black midi – another band that are a bit on the fringes when it comes to convention and predictability. Maybe it is the times in which we live, but there is a new rise of bands that are shouting loud and saying something really important. It does seem like we are entering a new golden age regarding bands; a long way from where we were a few years ago. One can look at the scene right now and find so many interesting and compelling artists. There are particular areas of the world one cannot ignore. I think Dublin is really cooking right now.

I have already investigated Fontaines D.C. who, apart from releasing the epic Dogrel, were nominated for a Mercury Prize for said album. There is great Post-Punk everywhere but there is something magical happening in Dublin. Whilst we have articles concentrating on specific Irish artists, I do not think there is anything online that talks about cities like Dublin and how productive they are. The focus always seems to be on London and, given the Mercury Prize was won by a London-based artist (Dave), how often do we look beyond the Capital? I think it is a shame that music still seems to be centered in London; that so much focus is there. If you think about Dublin right now, there are tremors happening for sure! Dara Kiely, Alan Duggan; Daniel Fox and Adam Faulkner have all had musical experience prior to Girl Band but they have grown up and matured in an area of the world that is truly exciting. Dublin has always been a hotbed but one can hear so many great new bands coming through. Maybe one can draw a line between a sense of aggression and energy and what is happening in the world right now. I do think there is a consciousness and sense of chemistry between Dublin bands when it comes to the outside world. Maybe it is a shared feeling that change needs to happen; a sense of dissatisfaction regarding politics and what is going on. Whereas other parts of Britain and Ireland are fostering terrific solo artists, Dublin is giving us the biggest and best bands of the moment. It would be a bit lazy to compare IDLES and Girl Band. They both perform Post-Punk but they are different propositions. I shall move onto another subject but I wanted to get us to think about Girl Band and what is happening in Dublin. It is amazing seeing this terrific city flourish and blossom. I think the world is changing and things are a bit scary at the moment. Girl Band are definitely reacting to that and producing music that is among the most exhilarating and fresh around.

Maybe Girl Band do not see themselves as exclusively Post-Punk. That is what they have been called by many, but I think there are other strands here and there. Again, like the lack of Dublin articles, there are not many pieces dedicated to the growth of Post-Punk and its popularity. It is clear the people want music that is honest, fearless and gripping. Whereas Girl Band are a little more lyrically oblique than some of their peers, the power of their music cannot be denied. You can listen to tracks like Couch Combover and feel refreshed and renewed. That might sound strange but there is a degree of catharsis and release. One can hear Girl Band and have the cobwebs blown away! A terrific band with a very strong and thrilling style of music, I know they will go on to big things. I should leave things now and move on to reviewing but, before I do, I want to stay with Post-Punk. I think political division has caused bands to turn up the volume and get involved. Maybe Girl Band are not as political as some but it is evident there is some stress and anxiety in their hearts that needs to come out. Rather than divide and push people away, they unite people and have this fantastic sense of togetherness. You do not need to be a big fan of Post-Punk to get behind Girl Band and understand what they are all about. It is time to move on and take a track from The Talkies. I do not review albums so, rather than do a brief little bit on each track, I have selected a song that I think defines the album. I wanted to write about Couch Combover because it is my favourite and brings all of Girl Band’s elements and brilliance together.

It is hard to discuss any Girl Band song and not have a look at the lyrics. With other artists, you can easily interpret the words and know where they come from: when it comes to Girl Band, things are a bit harder than that! What strikes me about Couch Combover is the fact there is this threatening menace and sense of danger. One hears this clawing, distant riff that is insistent and seems like it will come to the forefront. The hero talks about “Quarter naked/Get a semi in a hot topic sauna” and one is wondering what is being referenced. Maybe there is a nod to political debate and only having some of your body and soul in the argument; perhaps it is an illusion to ignorance but, as we see words about feet, wood and hairy backs, I wonder more and more whether it is political and more a stream-of-consciousness track that is there to capture a certain energy and mindset. By that, I think there is a feeling in the mind and a mood being captured; maybe not as succinct as other artists, yet it is down to the listener to decide what the words actually mean. Girl Band do not give too much away and they ensure their songs are interesting and mysterious after multiple listens. One definitely needs time and consideration to get into the song and unravel it. There is always this tension within the song regarding imminent delirium. One expects the band to burst and this tidal wave of screams to come through. Whereas some Girl Band songs do have that feeling, Couch Combover keeps you tense with this rumbling background riff and changing mood. Between the verses, the song seems to go through another gear but there is a feeling that the storm is not too far away. That unleash comes after the 2:00 marker, where we get a vocal hurricane. Up until that point, you are fascinated by the lyrics and just what the band are all about.

You can unpick the words but, in reality, I think only Girl Band know the true meaning. The beauty of Couch Combover is much more in the way the song builds and the feeling one gets. I do like the fact the band has this harmony and they sound so tight and together. Some other bands lack real depth and innovation. When it comes to Girl Band, they are always keeping things fresh and taking their songs in brilliant and unexpected directions. Rumours, fax machines and spotty little pricks are all covered and, whilst that might pertain to particular people and times, I like to think of Couch Combover as a delirious and dream-like track where various scenes and images are pieced together. The most powerful moment comes when Dara Kiely goes into wordless territory. There is a bit of The Fall to the vocals; he screams and then seems breathless. It is a fantastic moment that seems to speak louder than any others. In fact, when you hear Kiely just let the emotions out, you get a clear sense of this man exasperated and lost. Maybe it is me, but I feel the moments near the end of the song represent confusion and unburden. It is hard to put my thoughts into words (clearly), so one needs to listen to the song to see what I mean! Couch Combover is a pearl in a brilliant album that is rightfully getting a lot of love. I think there are a lot of brilliant bands around right now – Girl Band seem to be right near the top of the pile. Go and get The Talkies if you can because it is one of the best albums of 2019 so far. Girl Band seem repurposed and have fresh focus after a bit of a gap between albums. I cannot wait to see what the future holds and where the band step next. The world wants to see them perform and, looking at their tour dates, it seems like they will be pretty busy over the next couple of months. I can only imagine the thrill of seeing this brilliant band do their thing.

It has been a changeable and, at times, hard time for Girl Band. They have had to face personal problems and divisions. They have come back strong and created an album that is rich and deep. I think the band has a very long future ahead and I am so glad they are back together and performing. The guys have some U.S. dates coming up and then are back in the U.K./Ireland to gig for us. If you can get and see them then I would recommend that. They are a stunning live act and, as they get bigger and more popular, the gigs get busier. I hope the dates and travelling does not affect them too heavily and they are afforded some space and time off. I would hate to see Girl Band return to where they were or need some time out to deal with struggles. It seems to be this vicious cycle where great music can arrive from tough times; the artist then gets attention and goes on the road – that can then add new stress and they find themselves where they were before. Girl Band have come a long way since their 2015 debut and I cannot wait to see where they head next. It is a great time for music and one where there is a lot of anger about. Some artists project that aimlessly but, with Girl Band, there is this musical revelation that takes the breath and gets under the skin. They are a band who has brought people together and they have won some terrific reviews. I shall not bring any in but have a look online and see how The Talkies has been received! Such a potent band that is showing what brilliance is coming from Dublin right now. Where do they go from here? I think, once touring is done, they should recharge the batteries and will need some time to themselves. Let’s leave things there but, if you have not discovered Girl Band, make sure they are a part of your regular rotation. A sublime force of nature that are going to be around for years, these lads are…

ON a plain of their own.                                                    

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Follow Girl Band

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TRACK REVIEW: Princess Nokia - Sugar Honey Iced Tea (S.H.I.T.)

TRACK REVIEW:

 

Princess Nokia

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Sugar Honey Iced Tea (S.H.I.T.)

 

9.5/10

 

 

The track, Sugar Honey Iced Tea (S.H.I.T.), is available via:

https://www.youtube.com/watch?v=B7o8EGUTqwI

GENRES:

Hip-Hop

ORIGIN:

New York, U.S.A.

RELEASE DATE:

16th September, 2019

LABEL:

Princess Nokia Inc.

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MY review today…

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 PHOTO CREDIT: Alberto Vargas

is pretty different to the one I published yesterday. From the North of England, it is over to New York to feature the incredible Princess Nokia. This artist has been on the scene for a while but, in terms of studio albums, 2017’s 1992 Deluxe is the sole offering. Princess Nokia has released some mixtapes and been pretty busy over the past few years; developing as an artist and really growing in confidence. I loved 1992 Deluxe and found myself struck by her skills and charisma. ABCs of New York ranks as one of the best songs from 2017 and I think there are few artists out there now who can weave such a compelling narrative. Now, with a new song out, it gives me the opportunity to explore different sides of Princess Nokia. Before I get to the new track, I want to explore a few things. I want to discuss artists who go beyond music and are inspiring; role models that are going to compel and drive the young generation. I also want to talk about modern Hip-Hop and why artists like Princess Nokia are going to endure; Princess Nokia bringing women to the front and how artists like her are starting to affect change; New York and how it must have opened Princess Nokia’s eyes; a little about her future and where we might see Princess Nokia step next. I wanted to talk about artists who do more than music itself. I think the industry is so packed and competitive, even if you get someone who is terrific and has an original sound, it can be hard to stand out and endure. In terms of creating a name and legacy, through the ages, so many musicians have involved themselves in other lines of business. I am always amazed artists have the time and energy to develop their own fashion lines or lend their voices to other quarters. Not only is Princess involved with Platoon – who have been bought by Apple – but she is someone who has so much energy and inspiration.

 PHOTO CREDIT: NME

I think music is one of those industries that give artists a sense of release and purpose; maybe it is a platform to other things and a bit of a gateway. Before I go on, I want to bring in an interview that Princess Nokia conducted where she talked about Platoon and her other work:

“Her aspirations expand beyond music. Now partnered with Platoon, the company helping independent talent like Nokia distribute their art to a wider audience, the star is making the content she wants to make, how she wants to make it. "Platoon’s mission is to work with the most fearless creatives and to build the best distribution and services company for artists," Platoon CEO Denzyl Feigelson tells Billboard in a statement. "Working with Princess Nokia brings the best of our world together”

Princess Nokia has just wrapped her first full-length feature film, is working on a YouTube series, has a number of books in the arsenal and is one of the faces of MAC Cosmetics' annual "Viva Glam" campaign. The star is also set to headline PrideFest, NYC Pride's annual street fair to celebrate Pride Month, on June 30 as a part of the first WorldPride event to take place on U.S. soil. “I literally have my hand in every aspect of the art world that you could imagine,” she says. “That's what I've always done. That's what I will always continue to do because I really love my work. It makes me happy. I don't have much in life but my work is what makes me alive.”

You're now working with Platoon — what has your experience with the company been like?

I've been working on this wonderful new chapter where I found this great new distribution deal with Platoon while continuing to own all of my music, own all of my publishing, working with a really innovative and creative team of really quirky, open-minded, devoted and dedicated people on a team that really believes in me and loves what I do and supports it so much. I'm really proud to carry that motif in my life, being so independent.

PHOTO CREDIT: The Dots 

I'm going to empower myself as an independent artist that has such a mainstream following and continue to challenge stereotypes. I love breaking down those idiosyncrasies about music and business. I love holding the strength and the power. I'm very conscientious of who I do business with, with the kinds of decisions that I make. I think that it's just a great example in this new renaissance of music that this is what women can do now. This is what people can do now. I've always been adamant that I don't want anyone to control my music, but I think that with Platoon, they know who's boss and I know who's boss. We work together and we make things happen”.

I like the fact Princess Nokia wants her music kept pure and she needs to have a say regarding what happens to it and how it is distributed. I would expect Princess Nokia to go on and appear in more T.V. and film. In the U.K., artists like Dave and Little Simz are appearing on screen (in Top Boy) and I think Princess Nokia has real star quality. I feel there is something to be said for musicians appearing on screen. People will be watching them and, knowing them from their music, it will impact them. I think acting and music are interlinked and the experience Princess Nokia has will feed right back into her music. I can envisage her performing in a lot of other films and shows; maybe starting her own fashion line or forming her own business. Princess Nokia is this strong figure who puts her all into music and wants to make sure that she is not sold short. You see so many artists today under the thumb or labels and lacking any of their own ideas and control. Maybe that is a problem we have with music: so many of the bigger stars are not able to have their say or step in when it comes to their direction and how their music is released.

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I will bring in another section from this interview from The Guardian, but it is interesting to read where Princess Nokia came from and what she has had to deal with:

“She says she was always a misfit – “not a typical clean-cut young lady, always a bit rough around the edges, always a bit messy” – even before her life was turned upside down by the deaths of her grandmother and mother, the latter from Aids. She was farmed out to a foster mother she has described as “a succubus”, who beat her so severely that she had to wear makeup to cover a black eye in a school photo. The obsession with 90s culture that runs through the lyrics of 1992 is clearly bound up in her troubled childhood.

A lot of artists have had pretty tough lives and need to adapt but, in the case of Princess Nokia, she has been dealt some real blows. It is harrowing to realise what Princess Nokia endured as a child and what she has had to shoulder. It is all very well detaching yourself and thinking that people go through worse; if you actually digest the reality and picture the scenes, it is amazing Princess Nokia stands so strong now. I guess she was driven to succeed and one can hear her stories and emotions exploding in the music. Princess Nokia will add as an idol and inspiration to anyone who has come from a hard background and faced violence. It is possible to find light and improvement, even if you are in a really dark and bleak situation. I shall not dwell too much on the problems Princess Nokia faced; rather, I want to talk about her music and the fact she is such an original voice. I like the fact she is so inspired by 1990s culture, and one can hear that in her music. So many of the old-school rappers are motivated by the 1980s and earlier sounds; many of the current crop are pretty modern.

In many ways, Princess Nokia is a sort of bridge between the previous generation and the new stars. I loved her debut album and, although the music she is making right now suggests a slightly new direction, she is still more compelling and accessible than many Hip-Hop/Rap artists. I think we are living through times when music has a new importance. We are facing emergencies and crisis around the world; divided as people and not sure how to transcend from where we are now to where we want to be. Music should provide guidance and reality but there also has to be an aspect that allows for some comfort, lift and positivity. I feel Princess Nokia’s music does that. I can listen to a song like Sugar Honey Iced Tea (S.H.I.T.) and feel improved and happier. Of course, there is a serious side to the song but I have always found the music of Princess Nokia illuminating and incredibly powerful. Maybe it is the way she mixed different time periods and influences that lends her music such nuance and appeal. If you have not discovered the music of Princess Nokia, make sure you investigate her work and get involved. Her mixtapes are quite different to her debut album but, in every case, you get this incredibly deep, brilliant and accomplished sound. I think a lot of Hip-Hop artists follow others and can come off as pretty routine. Conversely, Princess Nokia is someone who sounds completely fresh and in her own league. I do think she is resonating and affecting upcoming artists. Hip-Hop is in a great state right now and, unlike years ago, I think women are much more visible and heard. Maybe we have a long way to go until there is equality but the scene has improved and is starting to open up more.

I do feel like there are gigs where you get men at the front and there is this sense of aggression. Maybe women are side-lined and they feel intimidated by the men. Again, change is happening and a lot of women are pushing other women to the front. Maybe it is down to Princess Nokia being a bit of an outsider or having to face adversity through her life. She is someone who wants women to feel involved and not isolated. This feature from 2017 explores this in more depth:

“She says she was always a misfit – “not a typical clean-cut young lady, always a bit rough around the edges, always a bit messy” – even before her life was turned upside down by the deaths of her grandmother and mother, the latter from Aids. She was farmed out to a foster mother she has described as “a succubus”, who beat her so severely that she had to wear makeup to cover a black eye in a school photo. The obsession with 90s culture that runs through the lyrics of 1992 is clearly bound up in her troubled childhood.

“Men standing in the back – it’s what’s right. All the shows that you go to, men would just be in the front in droves, moshing and they have such a brotherhood – which is beautiful and very commendable and I respect it very much. But it’s like a thousand men with their sausages out and it’s a real testosterone fest. Girls are, like, quivering in the corners, holding on to their purses, and they deserve to hold so much more space than that. A Princess Nokia show is this place where girls can do that and take the space in the way that men and the brotherhood do.”

The one place she hasn’t been lauded, she says, is in the world of hip-hop. “When I’m featured in serious hip-hop blogs, the commentary is really negative. It’s not over-sexualisation – it’s just: ‘Who the fuck is she? This bitch is whack and corny.’ Because I speak highly of myself, people think I’m pompous, or that I’m really narcissistic. But I’m only speaking on myself and what I’ve done and accomplished, and I only speak like that because no one else is doing it”.

A couple of years back, there was still this attitude that women were being sexualised and written off. Whilst there is still some of that happening, I do think artists like Princess Nokia have helped change the conversation. That also said, I think there is a very long to go. Hip-Hop is a genre that has always had an issue with sexism and not allowing women the same respect as the men. I do think things need to improve because, if you look around, women are striking hard and have a huge voice. Princess Nokia is hugely inspiring and she wants to see things get better. From her incredible music and original voice through to her continued success, we cannot ignore artists such as Princess Nokia. Princess Nokia is a very honest and personable voice who genuinely wants the dialogue to change; to ensure Hip-Hop puts women on the same level as men and (making sure) attitudes change. This will happen one day but, without too much support from men inside Hip-Hop, it is not fair artists have to shoulder the responsibility. Every genre is at its strongest when there is equality and open-mindedness. Hip-Hop’s roots might have been planted by men, but women have made such an enormous contributed; it is wrong to have these dismissive and insulting attitudes. Maybe we will see things get better and evolve in years to come – who is to say? What I know for certain is that Princess Nokia has a very bright future. She has been making music for quite a time and I do not think her debut album was given the full credit it deserves. 1992 Deluxe is a stunning, varied album that highlights a unique voice. I am not sure whether a new album is brewing – I shall nod to that in the conclusion -, but I do think Princess Nokia is one of the most extraordinary voices in Hip-Hop right now.

 PHOTO CREDIT: Roger Kisby

I should move on and talk about New York. I have never been to the city but one cannot talk about Hip-Hop’s present and past without talking about New York – maybe talking about New York State because there are a few boroughs that have had a role to play in the growth of the genre. I find London inspiring when it comes to the mix of people and scenes but New York takes some beating! It has always lured artists in and provided strength. I know New York is not perfect but there are few places on Earth where one can experience…something wonderful. Princess Nokia’s start in New York might have been hard but, soon, she was growing and leaving her mark. In this interview with The New York Times, Princess Nokia talked about her start in New York.

“But she endeared herself to groups all over the city — women, queer kids, drag queens, ravers, punks — who saw themselves reflected in her music, and over time, she developed rhyming skills that she channeled into energetic, moving anthems. She changed her name to Princess Nokia and released a series of albums, including one of earnest emo anthems, that secured her reputation as a tireless cheerleader for outcasts.

What was your first experience going to clubs in the city? 

When I was a little girl, I used to read The Village Voice a lot, and I became obsessed with New York night-life culture. I was really attracted to the flamboyant aspects of gay life, so going downtown, I’d see all the club kids that I read about. The first gay club I ever went to, I was 12. It was a club called Crash in Queens, and my foster mother had family that worked there, and we got to go there before somebody’s birthday party”.

I shall move on now because it is time I got down to assessing Sugar Honey Iced Tea (S.H.I.T.). It is a song that has been turning heads and people are asking whether Princess Nokia has an album coming this way – only time will tell!

The chorus for Sugar Honey Iced Tea (S.H.I.T.) starts things off and gives the song an instant rush and confidence. It seems the heroine is coming up against resistance and hate – “These bitches don’t like me/These bitches wanna fight me” – and she has is having to battle her corner. Right away, one can hear a sense of defiance in the vocal; a sort of nonchalance that means she is not being weighed down by these treats: instead, Princess Nokia is striding forward and will not be beaten. There are some great backing vocal rushes that give the track some extra weight and oomph. A lot of songs go in rather soft or build up but, right from the off, Sugar Honey Iced Tea (S.H.I.T.) gets marching and swinging! Those who are fans of songs like ABCs of New York might need to adapt to a sharper, more explicit Princess Nokia. There has always been confidence and swagger in Princess Nokia’s music but one can hear a more charged and rude beast. It is great to hear because it is the heroine at her most confident and empowered. I am not sure whether Princess Nokia is referring to her peers or those in her neighbourhood; it seems she has faced her fair share of haters and aggression. Rather than take pops at her on the Internet and try and take her down, they could have been doing something productive and made something of themselves. Princess Nokia barely misses a beat as explains how, if people want to follow her lead and get to where she is, they need to work harder and have goals. Rather than attack her detractors and rivals, she is laying down some hard truths for them. It is interesting guessing whether there is a particular person she is referring to or whether the song is a shot against all that are trying to knock Princess Nokia. By the time the chorus swings back in, you are still taking in the first verse; images are rushing to the mind and one is still moved by the flow and confidence of the heroine.

The second verse refers to a real event where Princess Nokia threw soup at a racist on a train. She makes mention of it in Sugar Honey Iced Tea (S.H.I.T.) and talks about the hatred she has of bigots. Rather than advocating attack and violence, she was appalled by the racist situation and did not want it to escalate further. I think some corners did judge her and ask whether the response she provided was the best but, in a situation where a friend is being attacked, how would one react? Princess Nokia has come from a past of domestic abuse and she is someone who hates all of that. If there are some Hip-Hop glorifying guns and violence, Princess Nokia is the opposite of all of that. It is refreshing to hear this because, for decades now, Hip-Hop has always had a tough time disassociating itself from these images of violence. I think things are starting to improve but Princess Nokia is more about sending out positive messages and putting down those who instigate discrimination and bigotry. It is obvious the heroine has had to face jealousy and pettiness for a lot of her life. Now that she has made it and is in the public eye, there are going to be those riling her on social media and calling her credentials into question. Sugar Honey Iced Tea (S.H.I.T.) gives some advice and wisdom to those who want to malign Princess Nokia; it is also defiant statement that suggests she has better things to do then listen to such crap. Once heard, Sugar Honey Iced Tea (S.H.I.T.) will get into the head and you will spin the song time and time again. It has a strut and confidence that is hard to ignore. There have been some great Hip-Hop cuts in 2019 but I think Princess Nokia’s latest is among the very best. Make sure you listen right now and hear one of the finest artists in Hip-Hop stand out proud and walk though those who slag her off and get in her way!

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Princess Nokia has just released an amazing song and I know she will be looking ahead. I cannot wait to see what is coming up for her. I loved 1992 Deluxe and am curious to see whether a future album sounds the same or moves in a different direction. I want to bring in a final interview, where Princess Nokia was asked about being a role model and, indeed, whether more music was coming:

“Is that your advice to other people who look to you as a role model?

I wouldn’t want to impose anything on anyone, because my doctrine may not be the same doctrine of others. Some people may think that’s a bit too positive. I believe that if you truly blockade negativity – which is not an easy feat, of course – it erases itself from your subconscious and your memory. The more you go out of your way purposefully to not entertain negativity it really does not bother you, but you have to really fight for it. Mentally, it’s not something that’s easy and it’s not something that will just go away at the drop of a hat. Positivity is a ritual that has to be enforced!

Do you think that’s partly what’s made you so successful?

Yeah, I think I’m just a big optimistic person and have just always fought for myself and fought for my place in a world that doesn’t really understand me.

What’s next for you?

I’m working on a new record, I’ll say that. I’m working on a new album that’s very empowering and very human. I’m looking forward to making really great, stimulating, thought-provoking music and I’ve been in the studio with a lot of different musicians – not like rappers or features, just musicians – saxophonists and guitarists and drummers and my friends, you know, people that I love a lot. We’ve just been jamming and it’s been great. I got my start with jamming with jazz bands and being in the underground, so I still keep that element around and I keep a creative family around me. We just have fun, smoke weed and we make music all day. And as a person, I’m digging deeper lyrically and spiritually, always”.

It is exciting to think that, at some point, we will see more Princess Nokia material out in the world. Right now, Sugar Honey Iced Tea (S.H.I.T.) is gathering some great reviews and I really love the song. As I said before, Princess Nokia is a big voice in Hip-Hop and one of those artists who does not follow the crowd. I love what she does and will continue to follow her progress. Make sure you check out this incredible artist and follow her on social media. Princess Nokia is a terrific artist who creates music that is…

TRULY amazing.

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Follow Princess Nokia

TRACK REVIEW: Field Music - Only in a Man’s World

TRACK REVIEW:

 

Field Music

Only in a Man’s World

 

9.6/10

 

 

The track, Only in a Man’s World, is available via:

https://www.youtube.com/watch?v=ft__PS9rFAU

GENRES:

Indie-Rock/Art-Rock

ORIGIN:

Sunderland, U.K.

RELEASE DATE:

18th September, 2019

LABEL:

Memphis Industries

The album, Making a New World, is available from 10th January, 2020. Pre-order here:

https://www.musicglue.com/fieldmusic/

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THIS week has been a big one…

for British and Irish music. We have just had the Mercury Prize and it was won by Dave for his album, PSYCHODRAMA. It is a worthy winner and it (the album) showed great talent and direction. The album is very personal and honest; a statement that you cannot forget and are engrossed in. The entire field was pretty stunning and this year’s Mercury was one of the tightest and most competitive ever. Field Music are no strangers to Mercury nominations, having been nominated in 2012 for their album, Plumb. On the list that year were albums from alt-J (who won for An Awesome Wave), The Maccabees and Jessie Ware. It is a completely different look/list this year and shows how much British and Irish music has changed in that period. I will keep on the Mercury theme because I want to talk about the best of British and Irish; how there is a North-South divide when it comes to music that gets the most attention; bands that go deeper and produce their arresting songs that have a fun edge; the current scene and why we need bands like Field Music; this year so far and why it has been so stunning – I will look and see where Field Music might head next year. The band consists brothers David and Peter Brewis but, in terms of touring, Andrew Lowther, Kev Dosdale and Liz Corney are in the line-up – actually, current promotional photos show a more fleshed-out and band-like Field Music (the rest in this review are of the brothers Brewis). Let us get down to some assessment and discussion. I wanted to keep on the Mercury Prize theme because, actually, back in 2012, Field Music said it would be outrageous if they won the award because their album, Plumb, sold far less than others on the shortlist. Maybe they are not a huge mainstream act but, as they were then and are now, they are a huge act who makes fascinating music. Last year’s Open Here is one of my favourite albums from the year and completely floored me when I first heard it.

If we think about what defines the best British and Irish music and, ergo, what deserves award, then one must recognise Field Music. I think prizes like the Mercurys are about originality, impact and quality rather than sales and popularity – so many other award shows build a platform on how famous and stream-worthy an artist is. Field Music resonate and reflect; they are becoming, I feel, more political – compared to their earlier work – and the quality of music running through their albums is sublime. This is more than a passionate nod to the band: indeed, this incredible outfit are making some of the most intelligent, nuanced and appealing music in the world. I do hope that, when they bring out their next album in 2020 (more on that later) they get a nod from the Mercury Prize judges. That is a little way off but, in my view, Field Music are everything you want in a band (or whether you consider them more as a duo). The tracks have that great blend of the personal and political; the music and lyrics have a unique edge and draw you in; the production is fantastic and makes every element and angle come alive! What strikes me hardest when thinking of Field Music is the warmth and wit you get from music. This is one of my biggest gripes at the moment – and something I should expand on later – and I think, in ways, modern music is very serious. By that, there seems to be an aspect of fun missing. We are more angry in these charged times and, when you look at the majority of the Mercury shortlisted acts from this year, one can hear a definite passion and aggression – that was reflected in the performances on the night! There is nothing wrong with that but I wonder, when we are living in a time where music is becoming heavier and less fun, whether we could learn from Field Music. They do not shy away from bigger themes but they can also give the music a buoyancy and bounce that gives you a smile. I guess the music world can accommodate all styles and ideas but I do feel people can take guidance from Field Music. I shall tip my hat to that subject later but, staying on a Mercury-themed tangent for now, I want to discuss the North-South divide.

This is not a criticism of the Mercury Prize and its judging criteria but, as you will note, the last few years have been dominated by artists from London. Ironically, when I talk about a North-South divide, I am not necessarily referring to one in the U.K. and Ireland: more, there seems to be a (friendly) civil war between artists from North and South London. This year saw the prize go to South London’s (Streatham) Dave but, last year, it was scooped by Camden’s (North London) Wolf Alice. Maybe there is this impression that the greatest passion and resonance is coming from London but I feel that is unfair. I know one must consider quality but, more and more, the media fixates on the South and London especially. I feel people get this impression that, because Parliament is based in London and this is the political hub of the U.K., that artists down here are the most important and relevant. You only need to hear artists such as Sam Fender (from North Shields) to realise that there is plenty of talent and fire coming from the North – Fender has just scored a number-one with his album, Hypersonic Missiles. Whilst Fender celebrates and we see where the young man heads next, I do wonder whether more media sources need to shine a light on the North. There is so much activity, brilliance and diversity originating from the North right now. Many feel the most striking music comes from London and there is less treasure to be found further north. I will argue against this in a bit but I want to bring in an interview David Brewis conducted for The Quietus, when speaking about Open Here. He was asked about the anger that goes into the album and how Brexit is affecting the people of Sunderland:

“Is Open Here Field Music’s angriest album to date?

DB: I don’t know whether it is our angriest album, but it’s got my two angriest songs on it. The album was written post-Brexit and ‘Count It Up’ and ‘Goodbye To The Country’ are definitely the angriest songs I have ever written. I am quite proud that I have managed to make them into listenable songs and I am sure that anger will resonate with some people.

How was the Brexit experience for you, especially living in Sunderland, which voted ‘leave’?

DB: Sunderland was the first place to declare a result. Brexit was a shock to a degree. I felt awful about if for a while. You start to feel suspicious of everybody and you feel let down. I felt that my understanding of other people was way off. I though the world worked in a certain way and it turns out I was wrong. That began to dissipate a little – even in Sunderland, which was strongly pro-Brexit, it was still ‘only’ 62 per cent of people that voted to leave. So, 38 per cent of 300,000 is still significant and there is a myriad of opinions. It was probably good for me that not long after the Brexit vote, the doomed Sunderland City of Culture bid started up. Amongst the artistic community, there was almost an optimism – a sense that things can happen – that proved to be a bit of solace. However, I am still furious about Brexit. I’m furious about how the arguments were presented on both sides - the fact that nobody really made an articulate positive argument for being more involved in Europe. It was just about how disastrous it would be if we left. Anyway, I don’t want to this to turn into Question Time.

I particularly dislike the ‘boys will be boys’ mantra.

DB: I totally agree. I have seen dads with tiny sons telling them not to cry and to be tough, as if it is entirely appropriate to toughen up a two-year old. Also, I feel a bit weird about dolls – one of the first things a baby girl gets is a doll baby, as if the first things a girl needs to learn is how to look after a baby. That’s totally mental. The idea that because Mary is one, she probably needs to learn how to look after a baby is a bit surreal. For girls to have that throughout their childhood is a pretty insane. So, we don’t have a blanket ban on pink, but there’s not a lot of pink going on. For us, the challenge - not to apply gender neutrality, as I don’t feel that extreme about this – is to ensure the kids can do what they want to do, and play with whatever they want to play with. I want them to develop their own characters without everything from the outside telling them that boys go one way and girls go another way.

I do think, especially now, artists from the North are as important and passion-worthy as anyone else. Not only is the situation with Brexit affecting their communities hard but I tend to find northern music more original and rounded. That might seem an all-sweeping statement but I do find myself gravitation to the North when I want that sort of nourishment and voice that I cannot get anywhere else. I have so much respect for Field Music because they are one of these bands who continuously give us top-notch music despite the fact they do not have the same sort of fanbase and platform as the biggest artists. I have never sort of understood why Field Music are not bigger than they are because, if you listen back to their album, they are so rich and intoxicating. In fact, before I go on, Field Music have just released a statement on their official website regarding tasty plans for 2020:

“Big news from FMHQ: We’ve accidentally made a new album – it’s called Making A New World and it’ll be out for your delectation in January 2020. And…err…it’s pretty much a concept album about the aftermath of the First World War. Wait! Come back! It’s not THAT kind of concept album! Honestly!

We’ve done songs about ultrasound and about shooting yourself for the sake of art and about gender reassignment surgery and about Becontree housing estate. We’ve even done a party tune about sanitary pads, called Only In A Man’s World, which is now streaming in all of the usual places  (huge thanks to Lauren Laverne and BBC 6 Music for giving it its first airing this morning.)”.

Their latest track, Only in a Man’s World, talks about the invention of sanitary towels and I think this is only something you’d get from Field Music! If a lot of artists are limited to politics and the personal, Field Music step into new realms and explore themes that are not covered elsewhere in music.

Others artists might approach heavier themes, politics and songs like Only in a Man’s World with clumsiness or a lack of fun. Not to obsess too much on this theme, but Field Music are a lot more interesting and original than so many acts out there. I have mentioned a divide between artists in the North and South and I do think things will change next year. More and more, we are discovering brilliant acts from the North who cannot be ignored; who are singing loud and want their voice added to the conversation. Maybe the Mercury Prize is still a little Londoncentric but this could well change too in a year or so – one feels Sam Fender will get a Mercury nod in 2020. Field Music offer this sense of electricity and character that charms as much as it informs. I do find a lot of modern music is quite intense and hard to love instantly. Maybe that is intentional but I do like music that talks about important themes but does not scare me away with too much force and aggression. One has to admire Field Music because they frame their music in such an appealing way. By that, I mean there is this blend of the serious and fun; their lyrics are always memorable and quotable and the vocal work is always full of personality and emotion – almost like a musical bouquet of flowers! I do think we need to foster and augment the brilliance of Field Music because they are offering simply stunning music. I like the fact all of their music has a bit of spring and smile; a step and spirit that gets you smiling and keeps you coming back for more. Before getting to the song I am meant to be reviewing, I wanted to bring in another interview; this time from The Skinny. Peter and David Brewis, when talking about Open Here, revealed how a studio they were used to working with in Sunderland was demolished as the area was changing – their little world was being closed and they had to adapt.

The band not only responded to changes in their community and the political world but their own lives too:

“The result is possibly one of Field Music’s most stylistically diverse, big and bold records to date. It literally opens up their sound, moving away from the more distilled, compartmentalised approach of Commontime to something far grander in scale. On top of tight rhythms, funk-inflected melodies and hooks, it packs in a wealth of additional instrumentation at every possible turn, from sweeping string quartets and blasts of saxophone to strident synths, flourishes of flute and even some flugelhorn. Count It Up was even written on David’s son’s toy keyboard, while No King No Princess is a supremely exuberant cut challenging conventional gender stereotypes by enthusiastically telling children that 'You can dress up how you want / And you can do the job you want.' For the most part, musically it fights despair with joy, isolationism with expansiveness, anger with unbridled release. Brewis puts it best: “we’ve gone all out.”

At a time when people seem to be increasingly fragmented, Field Music also sought to create their own tight-knit community of musicians to contribute to the LP. “I think because it was the last thing we were doing in the studio, we got more people in to work with us,” Brewis says. “We wanted to include as many people as possible.” Their cast of contributors includes their regular string quartet of Ed Cross, Jo Montgomery, Chrissie Slater and Ele Leckie, as well as the Cornshed Sisters, but they also welcomed saxophonist Pete Fraser, flautist and piccolo player Sarah Hayes (Admiral Fallow), backing vocals from Liz Corney, and Simon Dennis on trumpet and flugelhorn”.

This year has been an amazing one for music and I am glad we have new material from Field Music. I loved everything about Open Here and, as you can see from the interview above, the guys have widened their music but also had to deal with change and transition. Maybe it is the political strife and issues around us but I think music this year is the strongest we have seen for many years. There might be other reasons behind the surge but we have seen so many phenomenal albums and moments from musicians in 2019. I think this is going to continue into 2020 and who knows just what we will expect.

The opening moments of Only in a Man’s World provides all sorts of possibilities. The electronics start off jumping and skipping but then they warp and stretch – almost sounding a little like Gary Numan. There are some songs that one needs to dig deep to find meaning; others that have various interpretations and possibilities. In the case of Field Music’s latest release, we know its background. In this feature, we discover the origins:

“Explains David Brewis, “I found myself researching the development of sanitary pads—not a statement I’ve ever imagined myself making—and was surprised at how little the advertising material has changed in a hundred years. It’s still, Hey Ladies! Let’s not mention it too loudly but here is the perfect product to keep you feeling normal WHILE THE DISGUSTING, DIRTY THING HAPPENS. And you realise that it’s a kind of madness that a monthly occurrence for billions of women—something absolutely necessary for the survival of humanity—is seen as shameful or dirty—and is taxed MORE than razor blades?!”

Brewis adds, “At every stage of making this song, I had to ask myself, am I allowed to do this? Is it okay to do this? And I cringed in the next room when I first showed it to my wife. But I think confronting my own embarrassment is a pretty fundamental part of what the song is about”.

Not only would most artists avoid such a subject but, in terms of tone and feel, it would be very po-faced and serious. Not that Field Music make light of the subject but there is a definite energy and uplift that makes the subject matter more illuminating and accessible – without cheapening the sentiment or creating jest. The lyrics ask why a woman should feel ashamed; why a necessary condition for procreation is a luxury. The music has such strut and electricity that you get caught and hooked in. The vocal has a nice mix of traditional Field Music and a bit of Talking Heads.

The words are delivered with definite punctuation and gravitas, whereas the music has a looseness and elasticity that blends nicely. There are important questions being raised. I think there is a problem when it comes to advertising sanitary pads. It is not reserved for them strictly but there seems to be this stigma; the language used sort of shies away from reality. The tax on sanitary pads is extortionate and, as Brewis has said, this is a bit outrageous. It seem perverse that sanitary pads and periods are still talked about in whispered tones; there exists this sort of uneasiness in the media and society and, when it comes to affordability and access, many women are being denied. Field Music highlights the root of the problems: the fact that this is, to an extent, a man’s world and people who are charged with taxing are men. If a boy/man bled, would we have the same problems? It is unlikely. Rather than overload the song with a lot of different lyrics or a narrative arc, Field Music keep it simple and repeat certain lines to enforce their point. That recurring question as to why women need to feel ashamed is the biggest takeaway. It is fascinating to hear how Field Music blends vocals and music. I think Only in a Man’s World is as powerful because there is this infectious sound grabs your attention but, as I have alluded to, the meaning of the song is not distilled or made jokey. This is a song concerned with how girls and women are being priced-out and excluded. It is brave that a man should ask such questions but it does not surprise me. We are living through a time when artists in all genres and across the world are speaking up and tackling so many important subjects. Only in a Man’s World changes pace and direction. It swoops and turns; it has twists and there is a fluidity and sense of flow that means you keep coming back time and time again. I do love songs that raise awareness and ask us to think more deeply about certain things. It can be hard to embrace certain songs because the mood is quite heavy and dark. Field Music are masterful when it comes to mixing the importance of the theme and giving the music a lightness and energy. I have heard Only in a Man’s World played on BBC Radio 6 Music and I cannot wait to hear the forthcoming album. Field Music are always fascinating and essential and, on their latest cut, they are in terrific form. I went away from Only in a Man’s World and felt more educated, open-minded and curious. There is always this anger left that irks when you realise the reality – why, indeed, are so many women being charged so much for a necessity?! It is egregious and baffling. The fact that, yes, so many men in power do so little to make things better is an underlying message. Kudos to Field Music for releasing such a timely and important song.

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We do know there is going to be another Field Music record in 2020. Field Music have some dates coming up - so go and see them if you can! They are a magnificent act and I hope to catch them when they come down to London. There have been some changes in the camp (in terms of their studio space and the fact their promotional photos are less about the brothers and more about the band), but the music remains dependably solid and stunning. If you are unfamiliar with Field Music then I would recommend you get behind them and check what they are about. I have covered their music from a number of different angles and explained how, at a time when certain genres and artists are being favoured, maybe we need to reassess and look further afield. I have nothing against London acts and certain genres but I do think it is unfair acts like Field Music do not get the acclaim and popularity they deserve. The band has a great fanbase but I feel they warrant more because the songwriting is so strong and potent.

I shall leave things alone in a bit, but do make sure you follow Field Music on social media and have a good listen to Only in a Man’s World. It is a fantastic song – not that you’d expect anything less from Field Music! -, and one that bodes well for their forthcoming album. Making a New World seems to suggest changing against the current tide and looking to build a more stable and positive landscape. I am not sure what we will expect but it is going to be a terrific album none the less. The Brewis’ will keep us informed, I am sure, so make sure you keep your eyes peeled regarding development and news. I shall end things here because I have gone a bit…one can forgive that. I have always had a soft spot for Field Music and they are, as I keep saying, a band that should be getting more love and focus. Let’s leave that mystery there because, more importantly, there is a new single out in the world – it is already one of my favourites from this year! Go and pre-order Field Music’s upcoming album (as an early/late Christmas present) and go and see them perform if you get the opportunity. They are pretty wonderful and, as they look to the future and grow as a unit, I feel another Mercury nomination will head their way! I have enjoyed dissecting the latest track from Field Music and I look forward to seeing where they head next. Their music provides different colours and emotions. There is a serious side and personal aspect to their work but, with everything, there is an energy and spirit that moves the body and mind. The brilliant music of Field Music always provides such…

A huge rush.

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Follow Field Music

TRACK REVIEW: Charli XCX - Official

TRACK REVIEW:

 

Charli XCX

Official

 

9.3/10

 

 

The track, Official, is available via:

https://www.youtube.com/watch?v=W8gIH2fZhNk

GENRES:

Dance-Pop/Electro-Pop

ORIGIN:

London, U.K.

The album, Charli, is available here:

https://www.amazon.co.uk/Charli-Explicit-XCX/dp/B07SZ8Q7Q5

RELEASE DATE:

13th September, 2019

LABEL:

Asylum Records UK. A Warner Music Group Company

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THIS is a bit of a first…

where I am reviewing an artist in the context of the modern Pop scene/standard, rather than on its own merit. What I mean is, Pop has shifted over the years and I often dismiss the scene as being vastly inferior. Of course, one does not have to like music because it is popular or trending but I think, in the case of Charli XCX, I have re-evaluated my thoughts and opinions on Pop. Whilst it might not be as fun and catchy as once it was, there is a lot to be said for modern Pop and the effect it has; the way it has evolved through the years. I have selected a track from the album, Charli, to review but, before I get there, I wanted to nod to a few different things. I want to discuss the modern crop and how Charli XCX is distinct from the rest; the state of modern Pop and whether its changes will last and whether we will see a return to the more open and organic sound of years back; whether music and Pop has become more introspective and sadder; collaborations on an album and how, if judged right, they can be highly effective – I will end by asking whether Charli XCX is the future of British Pop and what she has in store. As I said earlier, I might not necessarily have chosen Charli XCX to review in the past but, as she is a big star and is part of the modern Pop scene, it is important I investigate her music and how the Pop scene in general has changed. Before I move on to other subjects, it is worth looking at whether a lot in the mainstream have lost a bit of boldness and provocativeness. I do think there are some boundary-pushing and brasher artists right now. Maybe ‘brash’ is the wrong word: ‘relatable’ and ‘real’ might be a better assessment. I do think Pop music has got cleaner and lost a bit of its edge.

Away from the mainstream, there are more real and down-to-earth artists but, more and more, it I think artists are getting harder to relate to. I think Charli XCX is a lot more grounded and real than a lot of her peers. There are many different sides to her. Look at her promotional photos and some of her videos and it is clear she is fearless. I think Pop was criticised years ago because it was too sexual and setting a bad example but, rather than reach a compromise, a lot of modern Pop is very sterile and clean; many artists holding back. Whilst Charli XCX is not as provocative as, say, Christina Aguilera was back in the day, it is good to see an artist who has that confidence and is unafraid to embrace her sexuality. I do think Pop artists get judged if they show too much skin but, as we know, there is a line. I think a lot of artists have, in the past, pushed boundaries to stir controversy and it has been unclear what they are trying to achieve. Charli XCX is someone who peaks to young women and is acting as a role model. There are some who might say her album cover and videos are explicit but, in fact, it is art. I do think Pop has become a little safe and repressed over the past few years and, whilst there are leaders like Taylor Swift and Ariana Grande, I do think there is something missing. Charli XCX has a definite spark and she speaks her mind. She is someone who has suffered from doubts and fears and, one feels, is trying to find answers and truth through her music. In essence, Charli XCX seems like a normal woman that we can relate to and understand; so much of today’s Pop is defined by these huge artists who are weighed by celebrity and marketing. Charli XCX has to play the game to an extent but there is something refreshing about her that resonates. One can imagine Charli XCX taking you down the pub or letting her hair down at the weekend. I think one of the reasons Pop has been criticised is because it has turned a little similar and there are few artists who stand out. I think there is something very modern about Charli XCX but she also reminds me of artists of the past such as Aguilera and Britney Spears. Whilst the sound is very different, Charli XCX has a pleasing edge and that balance of accessibility and stardom.

I am going to review Charli XCX very soon but, as I sort of hinted at earlier, maybe we often compare music of today with the past and assume that, because it does not make us feel the same way and does not have the same impact, then it should be written off. It is tempting to say modern Pop lacks any hooks and longevity but I do think the scene has changed and we need to listen closely. Sure, there are artists who copy one another and it can be samey; there are others who have their own style and are doing something different. I was reading this article from earlier in the year that addressed modern Pop and whether it stands up against the quality of the past:

“But looking back to all those years ago, none of it seems nearly as bad as what is out today. Pop and rap too are genres which can be full of passion and life, and even back in the early 2000s it was true for many artistes, for even those who wrote about the typical sex, party themes had a flair for adding a lot of life in their work. But today, while rock and metal too are guilty of becoming parodies of themselves in the mainstream, this statement holds particularly for pop and hip hop as they have ended up becoming the most canned and lifeless genres of music.

Music today is no longer an art form, it is a business where every artiste’s work has been labelled, processed, commoditized and then put up for sale. While music and business have always interacted, treating them as inseparable entities has resulted in a massive drop in the quality of our taste as people no longer have the patience to listen to a song which is not more than three minutes and does not follow the verse-chorus-verse-chorus formula. It can be safely concluded that today’s popular music has really led to numbing of brain cells”.

PHOTO CREDIT: Logan White 

There is a case to make that there is a lot of marketing and packing when it comes to Pop. Studies have shown that Pop has gotten sadder, but is calling it ‘worse’ a subjective measure? I think artists like Charli XCX are adapting to the changing face of music. I do think, in general, music has become a little more introspective and personal; there is a move towards something a little sadder and, sure, it is very different to the music of the past. It would be unfair to say Pop is the only genre that is becoming a little more familiar and restricted. On the surface, one might think Pop is in danger of becoming too processed and generic but I think there are artists out there who are pulling it forward. I think Charli XCX is a really interesting artist and, whilst she might not please everyone, there is evidence to suggest she might ensure for years to come. Pop is so varied now that we have experimental artists like Billie Eilish who can sit alongside commercial acts like Taylor Swift and someone like Charli XCX – who, in my view, sits in her own category. I think one of the dangers when it comes to Pop is that the Americans are dominating. Charli XCX was born in Cambridge and she is based in London now. Maybe that has always been the way but it is a shame to see British Pop artists getting the same acclaim as the Americans. In terms of the artists who will be cracking the charts, it is very much American-led and it is nice to see someone like Charli XCX mixing it with the best. Not only is it good to see a British artist getting such acclaim but Charli XCX has always impressed. I am a little cold when it comes to the likes of Taylor Swift because I think the music is very much aimed at a tight demographic; a style of Pop that takes few risks and sort becomes too familiar. I know Swift is very popular but one would like to see more personality and punch.  

On 2013’s True Romance and 2014’s Sucker, Charli XCX gained some positive reviews because people noted how she put in personality and quirk. There is this Pop-Punk attitude and a lot at work; some goofiness and humour together with rebelliousness and odd touches. Her debut album is very catchy and she showed, even then, a strong eye for female characters and individual lyrics. There might have been this temptation to become more commercial and ‘American’ on her sophomore album but, instead, Charli XCX kept true to herself. I have already mentioned how Charli XCX is very real; she comes across as very natural and engaging in interviews. This seeps into her music and you get a much more rounded and nuanced brand of Pop. One can find some Pop-Punk and sneer alongside accessible Pop and a bit of swagger. For those who dismiss modern Pop as being too sad, processed and slow need to give Charli XCX a bit more time and consideration. She co-writes her tracks so they are not being led by committee and she is able to make the songs personal. Maybe some of the lyrics are hard to relate to if you are not part of Charli XCX’s target audience; there are some tracks that boast about her wealth and fame but, at all times, tongue is very firmly in the cheek. Here is an artist who breaks from the routine and familiar and injects her songs with plenty of memorable lines. Charli has picked up some great reviews and, if anything, this is her finest work. Charli is an album that bulks against Pop convention; she is not bound by strict structure and, when you listen to the album, there is plenty of passion, dazzle and emotional openness. Many might be reserved and hesitant but I would say one cannot label Charli XCX and think she sounds the same as the more commercial and anodyne Pop artists out there. One of the reasons why Charli is getting such good press is the artists she has collaborated with. Charli XCX has used collaborators before but, on Charli, I think the selections are spot-on. HAIM, Christine and the Queens and Lizzo make an appearance and its helps give Charli new dimensions and layers.

There are a couple of articles I want to bring in that talk about the collaborations and how Charli XCX brings the best out of those on the album. The Guardian talked about this in a feature from a couple of days back:

“While XCX paints herself as intimacy-phobic, the way she brings out the best in her collaborators tells a different story. Her chemistry with Troye Sivan makes the asinine throwback 1999 irresistible (although the Michael Jackson reference is unfortunate), and she gives fellow embattled pop star Sky Ferreira a taste of freedom on the gothic, lurching Cross You Out. But it’s on the metallic battering ram of Gone that XCX finds her match in Christine and the Queens: the fantastic vocal interplay between XCX’s cynicism and Chris’s roguishness forging not only a protective allegiance against an indifferent industry, but the ingenuity that will reshape it in her image”.

Some criticise artists who bring too many others into their albums because it sort of clutters the sound and can seem like they are piggy-backing on their popularity and doing it to seem cool or popular. It is true that a lot of songs are packed with bodies and a lot of collaborations seem pointless and forgettable. When it comes to someone like Charli XCX, she carefully chooses who she works with and she knows those artists will help give the songs the touch and wonder only they can bring – which is what the point of a collaboration is. Rather than bring in a lot of the more commercial and plastic Pop artists, we have artists who are a lot cooler, varied and appealing; Charli is an album that definitely benefits from a heroine who knows her music and is trying to create the best music possible…rather than get the Spotify streams up or make things are radio-friendly as she can. Glamour wrote about Charli XCX’s collaborations and why she chooses the artists she does:

“One thing she might be striving for is collaboration. After all, what's a party without friends, and Charli has plenty of them. Her last two projects, the 2017 mixtapes Number 1 Angel and Pop 2, contain more featured tracks than solo ones. Who she works with runs the gamut (the new album alone includes songs with Lizzo, Haim, and pop newcomer Kim Petras, among others).

IN THIS PHOTO: Charli XCX with HAIM 

Her choice in collaborators is purely instinctual: She picks artists she likes. "I don't listen to a lot of other music aside from people that I work with or my own, which probably sounds really narcissistic and crazy. But I work with people because I think they're the best," she says. "I love being a curator. I just think it's fun because I know I'm smart enough to do it."

There is one commonality in her collaborators: Almost all of them either have devoted queer fans or identify as LGBTQ+. Since she's an artist who makes bombastic dance-pop, it's no surprise that Charli herself has a large gay following. But like everything else she does, her decision to team up with queer artists is organic. "Everyone has better taste in the queer community, anyway," Charli says, laughing. "It's not conscious. I'm not, like, 'Where are the queer artists? I want to work with them!' But I think I do naturally gravitate toward the queer community”.

I will end this section by bringing in articles that argue whether Charli XCX is the future of Pop. A lot of people are keen to deride all Pop and do not consider the fact there are artists like Charli XCX who are a lot more wide-ranging and appealing than you’d imagine. I do not think she has a narrow fanbase and anyone can enjoy her music. She might not be able to reach the giddy heights of the best from the 1980s and 1990s but she is someone who can write memorable tracks and she is progressive. Pop is changing right now and I do think we will see the more machine-like and commercial artists make way for the new breed: those who are much more daring, exciting and deep.

In this first feature, the writer is rather sharp and short when it comes to her music; whether her being talked about as futuristic is a good thing or alludes to something robotic and lacking in warmth:

“When people talk about Charli as futuristic, though, they’re not talking about her workaday writing. They’re talking about her brand in relation to the marketplace: like Madonna if she’d never left CGBG, or like someone playing Pitchfork Fest but also Good Morning America. They’re also talking about her production choices. Her new album, Charli, builds on the style of her 2017 mixtapes Number 1 Angel and Pop 2, which took all the buzz about her as a visionary and converted it into an explicitly “futuristic” aesthetic—chipperly artificial, digital, distorted. The related visuals have her plastic-wrapped, or gel-coated. Often it sounds like she’s trapped in glitching Bluetooth frequency, or that she thinks the next great single will be in the form of an iPhone notification sound”.

I do think Charli XCX is one of those artists who steps away from getting lost in the machine and having the same production sound as everyone else. Her music has a lot more heart and freedom to roam; she is an artist who mixes in other genres and cannot be easily compared. I want to bring in one final feature, where Charli XCX discussed her collaborations on Charli. It is also clear that, whilst Charli XCX is a big star, she is someone who blends into the crowd and is lacks the sort of hoopla and circus that follows the biggest mainstream artists around:

“Looking at the feature-stuffed Charli tracklist, you might wonder how personal she actually gets, but the singer has always used collaborations to expand her own creativity and reveal more of herself. That precedent did not, however, prevent her from receiving significant pushback from her label when announcing her plan to work with so many other artists on the album—comments she ultimately brushed off. “All of the collaborators that I work with are opening me up to so many different sounds and styles,” she says with a hint of defensiveness, implying a difference between her thoughtful, highly curated pairings and the mix-and-match, label-mandated features flooding the airwaves at any given moment. “A concoction of all that makes a more unique sound.”

Walking out of the spa, scores of pedestrians pass us, but not one of them gives Charli a second look. How is no one rushing up to her requesting a selfie? Why isn’t some 19-year-old stretching out of the passenger seat of a car singing “Vroom Vroom” at her? Well, we’re still in Midtown Manhattan, a neighborhood whose identity is defined by overpriced salads and men whose biggest problems involve locating shirts designed to be worn untucked.

As we stand in this cultural wasteland, sharing a moment of awkward silence before deciding to part ways, I’m reminded of something Charli admitted during lunch. “Sometimes I don’t understand why I’m not bigger than I am,” she said, breaking eye contact and looking at the empty space to my right. But like most of Charli’s downs, it was quickly followed by an up. “I feel very comfortable in my section of pop,” she continued. “I’m beginning to feel like the people who know, know. And the people who don’t? They wouldn’t get it anyway”.

I wanted to choose a song for review that has not been released as a single because it is fresh and other people have not poured over it extensively. Official is a song that does not rely on loads of layers and rampant, hollow energy to get it into the mind. Instead, there is a consistent sound – I am not sure whether it is a piano or a similar instrument – that gives the track an interesting hook. I am not sure why that particular sound was chosen but it works really well and gives the song a jittery energy and quirk. Charli XCX’s lyrics have always been highlighted, and I think she has reached new heights on her third album. Official talks about a lover who is a bit O.C.D. and they could be bad for her; Charli XCX gets fearful and hard on herself but her sweetheart knows the face she makes before the tears roll down – they seem to know what to say or how to make her feel better. Whilst her lover might is hard to read and they might have their downsides, they know the things that make her smile. There is a charm in Official that any can relate to. Too many songs talk about relationships as being either too idealised or fatalistic: Charli XCX, here, knows that everything is not rosy but that is to be expected. It is the thoughtful touches and the fact this person knows her better than anyone else that makes the relationship official. Maybe others have come and not respected her. Perhaps they have taken her for granted and used her but, in this case, there is genuine compassion and understanding. This sort of patience and commitment is represented with a vocal that has plenty of heart and grace. There is a little touch of machinery that treats the vocal but I think this is more for effect rather than a suggestion Charli XCX’s voice needs it.

The electronic touch gives the song an emotion that might have been lacking if the vocal was untreated or left alone. There is a nice lift and glisten in the chorus that strikes the eye and I like the fact that Charli XCX talks about the first date as lacking romance and big gestures – no flowers or chocolates. Rather than these social lubricants and, perhaps, cliché gestures, it was the feeling and passion that was put into the goodnight kiss that made her aware that this was real. That is a nice angle on romance and love. Other songwriters might get hung up on the lack of gifts and romance but, even though her lover is not perfect, the emotions and feelings are real. The pace shifts and Charli XCX punctuates the second verse; making sure every word is heard and makes their mark. The verse concerns the positions their bodies make at 4 .a.m. and there is a question as to whether it is purely sexual or there is something deeper. The line “The things that we break when we’re switchin' positions” might suggest lovers being caught in the heat of the moment but I think it is more about connection and synchronicity than it is pure lust and sex. The heroine says things that her lover does not hear; they say things when she makes bad decisions and it seems like there is compromise and respect from both sides. Sure, there are bad days and things are not picture-perfect but it is the little things that make the relationship stand tall and strong. The song is just over three minutes in length and it means it does not overstay its welcome and actually makes you come back for more. The lyrics are deeply personal but everyone will be able to relate to them. Official is one of the strongest tracks from Charli and a song that has the potential to pull in people who are a bit dismissive of modern Pop.

Charli XCX is headed to America and there are some big dates for her there. It is good to see that a British artist is turning heads in the U.S. and has a fanbase there. I do think a lot of the so-called ‘best’ Pop albums from this year are not as fine as Charli. I think a lot of critics get caught in this feeling that, because the artist is huge and popular, they need to hand out these hugely positive reviews – even if the music does not stand up to the test of time and is pretty ordinary. I shall not name names but there are some big artists out there being applauded for producing music that does not stay in the mind and lacks anything to keep you coming back. It must be frustrating for Charli XCX knowing many of her peers are getting more acclaim and attention, given the fact she is a lot more grounded and talented. Maybe it is the fact she is British and she might get more exposure if she was based in the U.S. Touring and big gigs help raise her profile and the positivity Charli has received will push her name through the ranks. I do think there is a mixed blessing to becoming well-known and popular. She does not need or want the sort of fame that can cause a lot of stress and see your private life invaded. I think Charli XCX is talking more about credibility and getting the same sort of love the likes of Ariana Grande and Taylor Swift do. I have used those two artists of an example of Pop music that, to me, sounds too formulaic and over-hyped. Maybe it is the fact Charli XCX is more credible and real means she will struggle to get the same appreciation as the biggest artists – this should not worry her. I am not completely sold on the notion that all Pop music is bad but, at the same time, I think we are a long way from the glorious sound that we enjoyed as recently as ten-fifteen years ago. I shall end things here but, if you have not dived into Charli XCX’s music before, I would recommend you…

GIVE it a spin.

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