If anyone ever tries to convince you that the technology that was enabled sampling and all the studio innovations that much modern music is built on has taken all the skill out of writing songs, then just play them The Keymakers. There will always be those artist who use such advancements to make up for any lack of requisite skills, but this duo certainly is not one of them. The Keymakers instead use the studio itself as an instrument, make (largely) digital magic and then learn how to replicate it live, as the accompanying video shows.
What do you do when you find that you are not practicing what you preach? This was the dilemma facing Matt Oestreicher as he spent his days mentoring kids on how to aim higher and follow their dreams whilst realising that he wasn’t pursuing his own. Although an accomplished musician and working alongside many notable and name artists he was yet to record and release his own music and it was this epiphany that led to his own album, Dream The Word New. seeing the light of day.
The Stone MG’s make music that sits at the point where rock muscle meets soul sass. Vocally it tips its hat to a Motown vibe and musically a bluesy, urban rock and roll and the whole package feels as if it has just stepped out of a 60’s revue show. But that is not to say that there is anything dated or unfashionable about the sound that they make as such iconic grooves have never gone out of fashion. Rather the sound is timeless and so is both wonderfully nostalgic and bang up to date at the same time.
That Niki Kennedy is no stranger to musical theatre and stage productions is evident in her voice right from the start. That combination of delicacy and power, control and confidence which is a requirement for such a career means that vocally she can explore sounds that your average pop wannabe would fear to tread. It also means that whilst The Weather Up Here is unashamedly a pop record, albeit one infused with soul and jazz touches, it bristles with a maturity not often found by her would be pop peers.
We approach that time of year again when supermarkets up and down the country take down the Halloween stock only to replace it with Christmas goodies. Endless boxes of chocolates and treats line the aisles, each with a variation of flavours and textures to help bring in the season of joy, which, ironically is the title of Nik Barrell’s new album; Joy.
It comes as no surprise that the wonderfully named Zebulon Krol is both a producer and a singer-songwriter. Often the drive behind a track, especially in such pop-soul-urban territory, is either one or the other. This usually results in either a slickly produced song with forgettable lyrics or a deft vocal turn with clunky and clumsy music to back it up. Calling on his wide-range of skills garnered from across the music spectrum, Hate To Say is the best of both worlds.
I’m always going to be attracted to artists with such cool and controversial names, after all it shows that they think outside the box, avoid niceties and are not afraid to ruffle a few feathers along the way. And if they are prepared to do that even before they have played a note, it means that the music is probably going to follow similar lines. JDDM is an east coast singer-songwriter with a fleshed-out, full band sound and Leave A Pretty Corpse is a great album of raw rock songs often taking an outsider or antagonistic stance. Why not, that’s rock and roll’s job after all.
As someone who deals with generic descriptions on an almost hourly basis, I am usually fairly cynical of them. You see that a band who have elected to use the term “cinematic indie” and you know that that is just wishful thinking and they are probably going to sound like the tracks that Oasis never pursued beyond demo recordings. So I see the term Celtic Soul/Country Swing and I’m thinking if this lives up to the expectation of such a combination I will eat my hat!
If Exponents demonstrated Agency’s distain for generic boundaries and for following other people’s pre-conceived ideas of what one musical style or another should conform to, Question’s continues very much down the same non-conformist path. Having made a name for taking strands of broadly urban music – R&B, hip-hop, soul and the like – and taking it to strange, illogical conclusions, this latest album shows that there is a lot of sonic territory yet to be explored. As R&B seems content to become a modern substitute for throw away pop and hip-hop gets taken to a lowest common denominator by a wave of mumbling, bedroom rappers looking for a quick shot at fame, Agency’s musical machinations remind me more of the early pioneers of UK’s underground 4AD label such as A R Kane who mixed soulful sounds with dream pop soundscapes.
Stay All Night is one of those songs that feels timeless both in sentiment and execution. People have been falling in love since the dawn of humanity and people have been chronicling it in song for almost as long. Stay All Night echoes with the soft and subtle chimes of the chilled end of 60’s soul and Motown but also manages to make those same classic sounds ring with enough modernity as to appeal to a modern audience.
Unlike a lot of soul being produced today, there is a tastefulness to the amount of space left in the song. Whereas many modern producers would endeavour to fill every space, every pause and every draw of breath between the words available, here only the softest of peripheral sounds and succinct harmonies are allowed to pervade through the atmosphere that is allowed to build between the beats.
The video returns to their familiar territory of animation that served them so will with (Now We’re) Done though swapping the more cartoon look for something akin to watching someone playing The Sims. But of course the focal point here is the music and whether you are looking for something that tips its musical hat back to the classic sounds of the past or uses such influences to create a gentle soul-pop hit for today, Stay All Night is the song and The Solsters are the band to deliver everything you need.
Stay All Night will be available on Spotify and iTunes from Oct 12
Whilst a lot of music seems to be made for the most shallow reasons, fame, money, ego a means to an end rather than the journey itself, occasionally you come across music which seems confessional, intimate, the narratives of an artist trying to make sense of their own life and understand the world around them. Watercolour Lies falls very much into the latter camp. At its most intimate it examines the authors own relationships and searches for honest truths beneath the outer appearances, at its most poignant it is nothing short of a bold dissection of The American Dream.
The Watercolor Lies of the title refers to the things that society and the system, even friends and family tell us are in our best interests but which later prove to be only hollow traditions. You get an education but you still have to work three jobs to make ends meet or you stay in a relationship because maybe it is easier or maybe you think they will change. Nothing is the way society, the media, politicians tell you it is but you go along with it anyway.
But for all its soul searching and deep questioning, Watercolor Lies is a gorgeous album. Lyrically it may often be confrontational but musically it wraps these thoughts in exquisite R&B grooves and soulful sound washes, hip-hop beats and alt-pop infectiousness. The title track in particular is a spacious and dark piece and taut with the frustrations that the lyrics highlight. Dreamers Howl which opens the e.p. is a wonderful blend of tribal hypnotics and shuffling, minimal dance floor beats and right from the start shows the thread of optimism that runs through the music in its “I’ve Got You” chant. Life may be tough but we can find comfort and support in those around us.
Enemy, which brings the e.p. to a conclusion is a beautiful pop ballad, both haunting and deeply personal. But it is this confessional stance which reaps the greatest rewards, once you are honest with yourself, once you know how you really feel, only then can you move on.
Watercolor Lies is an important collection of songs. For too long music has forgotten that it has a platform, a place to engage with like minded people, or perhaps change other point of view and that is exactly what Elaine Faye, the driving force behind the project, does here. She may seem like a voice in the wilderness in these troubled and broken days but sometimes the purity of such a lone voice can make it seem all the more powerful. And on the basis of this musically intelligent and lyrical eloquent collection of songs, E E Beyond should resonate with a lot of discerning music fans looking for artists who speak their language and who put those same frustrations to creative use.
There is a fine but very important line between being predictable and middle of the road and being smooth and cool. It’s the difference between playing old standards to uptown, supper club gigs and using phrases such as “don’t go changing” when thanking the audience and making music that weaves soulful grooves, jazz sophistication, gentle funk smarts and even touches of reggae, classical and homespun vibes together. Thankfully Ed Motta knows the difference, he knows where the line is, he knows which side he is on and he is so far removed from those music by numbers sets that he can’t see that line or even clubs lights in the rear view mirror.
It’s the difference between compromise and accessibility, for whilst this latest album is certainly full of music which engages easily with the listener, the depths and textures it is built from are beguiling and inspiring. It never panders to expectations or merely gives the listener what they expect or feel they want, it would rather give you what you didn’t realise you wanted.
Whilst there is a touch of Al Jarreau or George Benson about the music, lyrically Motta out paces even those big names, I don’t remember either of them using the word Kafka-esque in a song and having it wash through so smoothly! Lyrically inspired by everything from sci-fi, abstract poetry, 80’s fashion…in a wonderfully humorous way and even Hamlet, these songs are stories in their own right, little vignettes and fleeting scenarios set to the coolest music.
The result is an album that will appeal to the jazz and soul purist and the fan of chilled pop alike, those who want a smooth sound track and particularly those who will revel in the elegance of the music and the eloquence of the lyrics. All things to all people…that isn’t a bad label to have.
If rap and hip-hop are defined by the lyrical flow and the delivery of the message that lies at the heart of the song, then SillyKing Denny is someone who fans of those genres won’t fail to notice. His ability to blend busy and energetic vocals with some sweet and soulful tones stands him apart form the pack immediately and with the music happy to merely frame his deliveries he builds the perfect platform to promote his talents.
Musically, gentle soul vibes and R&B grooves effortlessly drive the song, soulful and sophisticated rather than the usual bombastic blasts, skittering trap beats and warped electronica that the rest of the pack seem so enamoured with. And it is this mix of early hip-hop, soulfulness and easy accessibility that means that it will have wide appeal. The cool kids on the street with dig its vibe, the old schoolers will pick up on the vocal deliveries and the pop set will love the lazy, lilting loveliness of it all. Why try to act tough and sing your own praises when you can charm the audience with a song that naturally does that for you? SillyKing Denny is more than aware that this is the way to go.
It’s safe to say that Perspective covers a lot of ground musically speaking. You would’t go as far as to say it is eclectic, but stylistically it is happy to shift around a number of genres, from accessible rock to soul, pop and hushed R&B and from late night piano ballads to gentle gospel. And between these parameters Wembi creates an album that already feels like a future classic, one of those that gets revisited and re-explored by successions of new listeners as the years roll by.
Songs such as Hell No! immediately put you in mind of the likes of Toto and that funky pop-rock groove that has served them so well over the years and it is a song that I find myself drawn to lyrically right from the off, intrigued by a set of lyrics that, though the names have been removed to protect the guilty, it can be read as either covertly political or highly personal. Or both.
Ring The Bell plays with no such vagueness, an intimate message rendered into a smooth piano piece all emotive space and anticipation, atmosphere and heartfelt feelings and musically there seems to be as much power and intent in the gaps between the notes and the pauses between the words as in the more structured parts of the song. Less is indeed more and space is there not just to be filled but perhaps also framed, enhanced and used as an integral part of the song itself. Tanganyika takes a more electro-pop line, mixing groovesome rhythms and pulsing bass lines with synth melodies to form a striking instrumental piece.
But what Wembi revels in is deftly crafted ballads whose largely unadorned nature means that the grace and beautiful simplicity of their creation is open for all to see. Songs such as A Promise, Hopes and Lies and the statement of support and solidarity that is Puerto Rico are brave enough to remain fairly simple songs and that is where their power lies. It is easy for artists to fall into the trap of entering the studio and adding layer upon layer of sound, texture and musical excess to what was already a great song an act that only seeks to muddy the waters. Thankfully Wembi knows that he has good songs to start with and plays to their aesthetic strengths by allowing them to breath. Did I say good songs? Make that great songs!
Taking a dash of classic rock muscle, smooth soulful vocal deliveries and infectious R&B melodies, Unbreakable is a song for the here-and-now but built on some already familiar sounds. Which is, of course, perfectly fine…in fact it is more than fine, especially when the end result is such a deft blend of styles. It is also a song with an optimistic message, a song which advocates personal strength, of not only being who you are but being proud of the fact too.
It hooks, it swaggers, it rocks and it certainly grooves, it is accessible and it actually has something to say for a change but it is also cleverly put together, sassy, soulful and groovesome, and it adds a powerful lyrical astuteness to the rock canon, a genre which very often is happy to deal in empty thoughts and shallow sentiment. But not this time, Unbreakable is a poignant torch song, a beacon and rallying point. If ever there was the need for an unofficial national anthem then this would take some beating.
I spend so much of my time trying to find something new to say about music that lands on my desk with the label R&B attached, music that is really just production line pop with the same stolen groove and an eye on a quick buck, that I have taken to dreading anything which turns up with such moniker attached. Perhaps it is such a backdrop of unoriginality that makes Agency’s Exponents e.p shine so brightly, though more likely it is that what’s going on here is actually something a bit special, cool and totally original, a collection of songs created by thinking so far out of the box that they can’t even see the box in the rear-view mirror as they take this musical vehicle for a spin down the highway.
Take opening salvo Darkness for example. Most artists would want to make a big and obvious impact to kick the record off, Agency opt for a wonderfully weird and glitchy a capella introduction, much more memorable in its otherness than the usual bombastic offerings. It then proceeds to play with everything from sweeping pop balladry to hip-hop grooves, from up beat soul to mainstream commercial infectiousness. In just this opening track they seem to cover more musical ground than many acts take the first decade of their career and four albums to encapsulate.
Moonlight weaves more ambient threads together, smooth soulfulness, sultry grooves and a wonderful use of space to create atmosphere and anticipation between the notes and the beats and Daylight is the perfect dance floor wind down as the club slips into the early hours chill mode. Nothing Easy About Me, the final slice of this five song offering, is a brilliantly eclectic musical cut up of spoken word and strangely affected musical interludes.
And whilst it is easy to assign these tracks to broad generic labels, that doesn’t even begin to do them justice as even when they can be pinned down to such normal classifications the songs seem to be constantly either creating new sub-genres within them or making leaps across those generic fences and gene-splicing music and ideas that seem to have passed everyone else by. The ability to do this, to almost turn accepted musical forms on their head and still come away with something cohesive, intriguing and accessible is a trick most can’t carry off. And when they are not reinventing the core concepts of soul, R&B, hip-hop, ambient pop and the like, they are creating wonderfully smooth, musically elegant and lyrically eloquent songs.
If it wasn’t for the fact that you can’t help but love everything about them, they would make you jealous enough to hate them…in a good way, at least.
How do you make music that is at once soul searching yet accessible, reflective yet anything but melancholic, poignant yet marked for popularity, enigmatic yet infectious? I bet New Sky has at least some of the answers but then they are hardly likely to give away their secrets . For Son is just such a song, it is all those things and more. It is a song that delivers a wonderfully intimate narrative but one that is also a universal and relatable message about what it is to be a man, a gentleman, a decent person…a human being. Morality, ethics, character after all is just about common sense and honesty, you don’t need a politician or a religious leader to tell you what the right thing is and it is such a message that sits at the heart of Son.
It runs along a soulful groove but you wouldn’t call it a Soul song in the generic sense, similarly it is bluesy but not blues, it is built with an integrity and solidity that few rock songs have and is addictive in a way that your average throwaway pop song could only dream of. Do we need a new genre or should we just accept that the best music doesn’t need such artificial and largely journalistic devices? I vote for the latter.
It is the sound of basement soul gatherings blending into back street Chicago jazz clubs which in turn become the sound of illicit blues parties and underground gigs. It is the sound of an alternative, underground path that music took when it should have become the mainstream. It is the sound of a midnight ritual designed to re-animate the zombie corpse of the muse of music that mattered, still matters and will continue to matter, long after the current boy band wannabes have returned to a day job where the main concern is asking the customer if they want fries with that!
What is so great about Son, the real underlying charm it effortlessly exudes, is how wonderfully loose it feels, how relaxed and conversational whilst being anything but sloppy. And that is the art of such music. Get things too together and it sounds like an uptight recital, too loose and you sound amateur and unprepared. But get the sweet spot and you sound both professional and chilled, competent to the point of relaxed. It goes without saying that here the New SKY hits the sweet spot dead centre.
Music is made for many different reasons. It can be fun, celebratory and throw-away, it can be deep, meaningful and poignant, it can be everything in between. More and more often I am find an increasing amount of music coming my way that feels driven to comment on the nature of the world around us and I ask myself why that is. Is it that the world is indeed a darker and more unequal world these days, is it that injustices are better reported and so is informing the man in the street in a way that wasn’t possible in the past. Is it because many artists are again seeking the power of a platform to make themselves heard rather than merely chasing the hollow and transient music industry rewards. I suspect that the answer is all of the above.
He have heard a lot about the horrors of slave markets in Libya, a trade in refugees hoping to travel to the relative safety of Europe but instead being caught in a system that we thought had consigned to the horrific annals of a unenlightened colonial past. MusicBySire feels so strongly about this that the video is part performance, part CNN special report, the powerful lyrical delivery interspersed with actual interviews and footage of the victims. At this point in the review I would normally analyse the track from a musical point of view but that seems as if it would be distracting from the songs purpose, like reading a powerful and important book and then discussing the covers artwork. Suffice it to say that the song does everything it needs to via a blend of musicality, soulfulness, compassion and raw, upsetting honesty.
But that is the point, this should upset and unsettle, the lyrics should land hard enough to make you think, and feel, and hopefully empathise. And it works on all levels. Black is a perfect statement and proof that even those outside the political and legislative classes can be an important part of the conversation, a conversation that reminds us that the world is a community and we all need to come together to look after our neighbours. Words are important, songs brilliantly communicative, videos emotive and visually stimulating. MusicBySire proves to be the master of all these mediums.
The Solsters make a fascinating point with (Now We’re) Done. Break up songs don’t have to be depressing! You hear the phrase and you can’t help put envisage a long haired guy in a wide brimmed hat waxing lyrical in depressing tones over his 12-string guitar about losing the love of his life. Or an indie pop girl with fashionable glasses getting simultaneously sassy and soppy about the way that she’s been treated aided and abetted by a working knowledge of A minor. A minor? Wow! That’s how you can tell that she’s serious!
But Solsters offer a better approach. Whilst the lyrics address the same subject matter, it comes from a healthier place. This isn’t a song of victims and unrequited love, of broken hearts, well, maybe hearts that are a bit damaged, and teenage irrationality. This is a song that comes from a more mature place. This is the, “I think we need to talk “ song, the “ Look, if we are really honest…” relationship on the couch song.
And better even than its healthy and grown up approach to such situations is the music. As I said, break up music doesn’t have to be depressing and although it is emotive and analytical, reflective and soul searching, it is still full of groove and beat. It takes the golden age of soul and doo wop vocal quartets, blends it with fresh pop sounds, under pins it with modern synth sounds and electronic textures and the result is a tune that away from its lyric could move to the coast and make a decent living in an up town supper club.
It’s great, a real balance of old-school and cutting edge, of upbeat musical infectiousness and the harsh reality of the lyrics. I guess this is what you get when pop grows up and starts to talk about the realities of adult life.
Pop music doesn’t have to be big and boisterous, bombastic and overblown. I mean, it can be if you like that sort of thing, it’s just that for me at least, the more interesting sonic creations are often found when such musical building blocks are spread thinnest, when a song seems built more of texture and nuance than groove and beat. Tracks like Hummingbird illustrate my point perfectly.
It’s a track so opaque, so gossamer light, so transient that it is almost impossible to assign it a genre, though if you pushed me (the most) ambient pop should suffice for now. It infuses together soulful, jazz echoes, whispered vocals, half-heard electronica and sultry musical touches into the most chilled of deliveries. It gently brushes the 90’s trip-hop sound and the global adventures of bands such as Dead Can Dance, flirts with clubland chill outs and the soundtracks to art house movies and blowing like a warm musical wind across many landscapes and many different cultures.
Gloriously understated, wonderfully warm, brilliantly evocative. Job done.
Whilst many bands chose references and soundbites which say more about what they think they sound like rather than what they actually do, Zialand’s third and latest album arrives with the perfect tag line. Cinematic Soul Pop. And that is pretty much all you need to know, though obviously there is a lot more to her fabulous music than that, but it’s the perfect jumping off point.
I first encountered Zialand in a much stranger musical world, that of John Fryer’s Black Needle Noise adding vocal textures and sonic beauty to his mercurial creations, then, in this guise, driving her own creative vehicle and via the two previous singles, tracks which taken together brilliantly mark the boundaries of her personal musical world. If Landslide plays with brooding yet thoughtful synth-pop and Shelter takes a more soul-blues, classic piano line, both capture the wonderful restraint, elegance and late night hush that is the hallmark of her music.
Chose any song on Unbridled and Ablaze and you are immediately taken to a nighttime world, one of dark, neon-infused streets and cool up town clubs, of noir-ish scenes and soft-focused, urban drama, of romance and reflection. It is music which before you even concentrate on the specifics of the lyrical message or musical content, its very presence sets scenes, a score perhaps to a film yet to be written or a dream yet to be dreamt. Such are its ethereal qualities, its very essence.
As an album it’s all about space. Don’t Look Back is wonderfully dramatic but built only on cascades of vocals and the most minimal of piano lines and even more driven songs, such as Fever, are confident enough to saunter slowly through soft beats and sultry brass rather than rush to impress the listener. And that is the real charm here, Zialand’s ability to take only a fraction of what other artists would deem necessary and still fashion it into something so resolutely understated and so wonderfully restrained that its impact is as striking as any full band effort or more complex musical salvo.
This is music as watercolour painting, music which sketches the basic lines and then proceeds to add only the gentlest, most translucent and sparsest of musical hues, the space and the suggestion allowing the listener to see, or in this case hear, the whole picture. The phrase “less is more” may be a cliche, but cliches are cliches because they contain a kernel of truth. Less is more is also the only cliched thing you will find associated with this gorgeous music.
You could argue that The Fell Swoop’s sound is one that comes from a nostalgic place, from the golden age of soul, from a jazz and funk past and a disco dance floor of yesteryear. You could also argue, so what? If the music is worth keeping alive then keeping it alive is the thing to do. That said you could hardly call Magick Thing a mere pastiche or a rose-tinted retrospective glance, it sounds as fresh and funky as anything being made today, it’s just that you can see where it tips its hat. Or as the opening line stays…I know from where you came…” well, quite.
Guitars funk furiously, saxophones seduce, the beat pops and grooves in interesting and intricate ways but more than anything the music initially bypasses the listeners head and even their heart and aims straight for the dance shoes before working its way up the body.
You can approach the song from many directions. Jazzers will love the arrangements and intricacies, soul fans will love the smooth deliveries, funksters and disco divas, the inherent dance vibe. If you like the more traditional sounds, then there is a lot here that reminds you of past glories and golden age artists and more contemporary music buffs will just love the sassy vibes. Mission accomplished.
The best pop music has the ability to walk fine lines between different worlds and is able to appeal to wide demographics without sacrificing its own integrity. We often see the opposite of this idea at work, at one extreme you find throwaway pop music aimed at the teen dollar to be used and discarded when the wheel of fashion turns, at the other music aimed at a mature audience often playing things safe, music consumers who have long ago decided what they like. Rarely do we find songs which appeal to both ends of the spectrum, songs which are engaging and fresh enough for the younger set but also refined and slick enough to become firm favourites through constant repeat. Just occasionally, music clever enough to fit into both camps simultaneously pops up on the radar and Do U is just such a song.
Pop it may be but it is a track that weaves the cool factor associated with balladic pop through some slow R&B grooves and unexpectedly soulful undercurrents. Add to that clever urban grooves, rap interludes and a trap influenced percussive drive to push it all along and you have the perfect blend of youthful sass and eloquent maturity.
Do U also speaks of things that listers of any age can relate to, of being in a one sided relationship, of thoughts and feelings, love and longing, rather than employing lyrics which confine it to a more niche experience. Not everyone wants to hear about how Lit your party is or needs another twerk-fest video, and it is this broad accessibility, this integrity, this pop maturity, which is going to put her in good stead for a long career.
There is a rich tradition of artists using covers as a calling card, though maybe a better word is standards in this case, as Sophia Evangelina has chosen such an iconic song to announce herself with. And why not? They say that you only get one shot at making a good first impression and as they go, this is well….pretty impressive! Originally written for and performed by Etta James, but possibly better known in more recent musical circles from Beyonce’s version as she played the troubled blues diva in the film Cadillac Records, Sophia is nothing if not brave to follow in such footsteps.
But what Sophia Evangelina brings to the table is the perfect blend of historical resonance and pop modernity, with a voice which feels equally at home in the golden age of such blues-soul gems and at the cutting edge of the pop game. She steers the perfect course between the two channelling a retro vibe but never feeling like she is resorting to pastiche and for such a young voice managing to imbue the song with the required depth of emotion.
As calling cards go, its a memorable one and with an album due out that mixes covers from this era with original songs, she seems the perfect artist to rejuvenate those classic and keep them alive with a new and younger audience. We all know how great such iconic songs are, the art is keeping them alive with the next generation. Sophia Evangelina is just the girl for the job.
This song has passed our way before, previously as an audio recording only but like all songs the right video can certainly underline and enhance the sentiment of a song and that is exactly what this part-performance, part-narrative video from Natalie Jean and Levi Moore does here. First time around we were concerned with its sonic qualities, which are rich, deep, soulful and lilting, such is the thrust of the audio format, but a video lets you dwell on the meaning via a storyline and the sheer power of visuals, and this is where the song becomes more than just a great piece of recorded work. It becomes a relatable and touching story.
Letting Go is a song about freedom, at its most personal and basic level, about not caring what others think and just allowing yourself to be free to love and be loved by who you want. Its soft and lilting country lines and sweet soulful depths capture both the sadness and the joyfulness of the subject as the video follows the perceived rejection and reconciliation of the young, would-be lovers of the story. Not only a fantastic ballad but an important life message.
Angelle is one of those artists who, despite working in the contemporary world of soulful, R&B infused pop, also manages to remind us of a host of great names from Roberta Flack to Witney Houston to Toni Braxton. And that, of course, is the secret isn’t it? It isn’t really about inventing new genres, or gene-splicing musical styles which have no business getting that intimate, that rarely works anyway. No, the art is to create music which is both of the here and now and yet subtly references the past. A blend of the fresh and familiar, new but just with a slight touch of nostalgia.
And Avec Moi does this to perfection. The blend of French and English lyrics adds a classy sheen to its already sultry grooves, Philmoore Rich’s lyrical rap and flow updates the sound nicely and the end result is a timeless piece of sensual soul which stands with one foot in the present day and the other in soul’s golden age. Perfect.
Covering iconic songs is a tricky thing especially songs as ingrained in the public consciousness as Wild Cherry’s Play That Funky Music (White Boy). Many have tired, Euro-poppers Roxette made it sound predictably…well, Europop, Tim Campbell delivered an over-produced, over-polished version, Extreme rocked it out, Prince made it sound like it was his own song and a host of TV music show wannabes have sucked the very soul out of it. The problem with attempting to cover a well-known song is that you have one of two options. Either you bring something new to the song which implies that you think that you can do better than the person who wrote it in the first place or you stay faithfully to it which begs the question why bother covering it at all? The answer, it would seem lies somewhere between the two approaches.
Thankfully that is exactly what is going on in the latest foray into this funky hallowed ground. The original is a blend of groovesome and soulful guitar licks, stomping bass lines and funky, energetic drumming. All good so far. The thing that most people generally get wrong is over filling the space between the backbeat and the vocals, not here, here there is just the right amount of space and anticipation. Brass attacks punctuate the air and backing vocals do no more than underline with raps and shout outs. And the reason for this space is to create a dynamic restraint, which is blown wide open when the white hot, jagged guitar gets its turn in the spotlight.
True to the spirit of the original with just the right amount of originality and freshness to justify revisiting this classic, exactly the fine line you need to walk to make such a cover work. Perfect.
We recently sat down for a chat with emerging Australian artist Brice Sedgwick, about his two smooth and splendid releases to date, his Californian dreaming, the evolution of his music and what the future holds for him.
On both Pacifico and more recently Venice, there is something of the Californian experience, a warmth and a relaxed vibe, how much of that is a conscious thing and how much seems to get picked up just through your experiences there?
There are subtle elements of my Californian experience on Venice. I felt that the sound of waves crashing on Venice Beach, or the seagulls in the air were two elements I needed to have on the record. In that regard, it was definitely a conscious decision to have listeners experience what I experienced. Not just what I felt, but also what I heard in those moments. The memories are so vivid, and I needed listeners to be able to be there with me. I wanted to be able to tell, and to show how this place exists in my bones, and manifests in my emotions.
What do you feel are the similarities between the two releases and what was different about them?
On the first, I was experimenting with sounds I wanted to explore, but with Venice I knew I needed to have some sort of sonic consistency. The way my story telling has also evolved; I wanted to continue to be open about who and what my songs are about or who i’m singing to, expanding upon what I started on the first album. There’s a line on Midnight in Echo on Pacifico about breathing someone in from their pillow case. I was never explicit about whether that was a man or woman, but it wasn’t through a reluctance to be open about my story. There’s always going to be a universalism in my songs, regardless of whether i’m singing about a man or woman. I’ve always been inspired by listening to Bing Crosby sing “There Ain’t No Sweet Man That’s With The Salt of my Tears” and remembering not one person nearby raising an eyebrow. On Neighborhood Scenes, I sing about listening to his voice, and building a life with a man in imperfect situations. I want to continue to not assume what mainstream listeners want or need, only that I have stories that I want to tell. We’ve all been there; singing along to a song where the pronoun may or may not have skewed how we feel, but we keep on singing. What does that say about some artist’s reticence in approaching their story telling? I think confronting desire in queer pop is important. It’s so important to see the numbers of LGBT artists sing authentically of their desires. We want and need to be open about who we are in music and expressing our romantic desires. The audience will come along.
Your music sits between a lot of genres, pop, dance, chill out…is it hard trying to get noticed and picking up new followers when your music doesn’t sit completely in one genre?
I think listeners will respond if the work speaks for itself. I 100% believe that. I think it’s the sign of a skilled artist to manifest these interpretations in the listener; the most incredible albums have been when the artist has managed to bring together these sonic elements, and create something transcendent. You know? Subtly make a record cohesive by featuring recurring elements and motifs, and sounds, and samples. I’ve often found the way a record is produced can create cohesion, for example lo-fi recordings, etc. There are countless amazing albums that I look up to, and i hope that i’ve been able to create something that is distinctive, yet subtle, and include varied sounds without my record seeming fractured. Perhaps Pacifico was a little too broad, but I definitely knew I wanted to have that dreamy, tremolo sound in all of the songs.
And you have spoken about taking your music beyond Australia and touring abroad, what places are you looking forward to heading for most?
I just finished a tour of the last album, and i’m planning to tour Venice and let people hear it live. I lived for 6 years in London, so i’m looking forward to returning and playing the record, and some very new stuff, live. I wrote with a lot of British artists, so it would be great to play with them and play for them. I’ve some special places i’m looking forward to playing, and some special places in the US i’m looking forward to playing. Playing Venice on Venice Beach as the sun sets would be damn magical. Something worth fighting for.
Venice is available exclusively on iTunes worldwide
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Marieme does that most rare of things, she makes pop that sounds both grown up and wonderfully infectious at the same time. Throwaway pop is two a penny, it always has been, and that is pretty much the nature of the beast. But pop aimed at a more mature audience generally misses the point, taking itself too seriously and forgetting why it came into the room in the first place. Be The Change (The Shelter) however, is the best of both worlds.
It hooks, it zings with an understated grace, it pops in the most chilled out of ways and it certainly grooves, it is infectious and accessible but it is also cleverly put together, sassy, soulful and bluesy, and it adds an unexpected lyrical astuteness to this often misunderstood genre, so much so that the end result is nothing less than deep and meaningful pop… in the sense that all music is essentially pop when it comes right down to it.
And as cleverly wrought and finely crafted as the music is, it is Marieme’s voice that is the stand out feature, how could it not be? It is a voice filled with the ghosts of soul legends and jazz-blues icons, a natural and all encompassing vocal equally happy to whisper softly in your ear or hit the big crescendo.
In short it is pop in an evening dress, pop with an eye on the long game, pop reaching its full potential. Throwaway pop songs that you will want to keep forever! Whatever will they think of next?
Even if I didn’t rate the music you have to love a band with a name like The Harpoonist and The Axe Murderer, doubly so once you find out that their current album is called Apocalipstick! Thankfully I do rate their music. A lot. They make exactly the sort of vintage music for the modern age which is really ticking a lot of boxes for me at the moment.
Whilst there is something in its eclectic flights of fancy and sonic choices that suggests it is the product of the modern world, it beats with a more experienced mind, a more lived in heart and a much older soul. Raw blues, early rock and roll, gospel grooves and soul moves all come together to build music which revels in its own ragged glory, its own substance over style heart, its own celebration of the way music used to be made.
Hard on Things and the wonderfully named duo responsible for it remind me of the ethic of artists like The Band, ones who in the face of the current zeitgeist deliberately subverted expectation and delivered something far older and less fashionable, wonderfully out of step with the current trend and just waited for others to catch up. The Band did it in the face of encroaching hippiedom and hard rock, The Harpoonist and The Axe Murderer do it against a backdrop of landfill Indie, disposable pop and bedroom rappers. Why follow fashion when you can start your own, wholly new, roots movement?