Sunday, 8 March 2015

INTERNATIONAL WOMEN'S DAY MIXTAPE

"I love to see a young girl go out and grab the world by the lapels. Life's a bitch. You've got to go out and kick ass." - Maya Angelou
LISTEN TO THE PLAYLIST //HERE//

Today - 8th March 2015 - is International Women's Day. Though we should be celebrating the achievements of phenomenal women everyday - no matter how small or how large - today we truly appreciate womanhood. From Malala Youzafi to your local community women's centres, the past 12 months have caused for a lot of praise for the work of women across the globe who are slowly but surely pushing oppression out and bringing equality in. This International Women's Day prioritise women of colour, women being murdered or mutilated for their right to say no, transsexual women, poor women, etc. Look beyond what these women can do for your feminism, but what your feminism can do for these women. This playlist complies songs by artists who highlight the importance of women, despite what the patriarchy tells us we are, and though it's largely focused on Western ideals, this International Women's Day I think we must look beyond the problems in our own society and into the ones of those littered with women without privilege, and therefore, without a voice. Just think about that.
(this post comes one year on from my 'feminism for beginners' post. the response i got from that was overwhelming, and over 400 views in 365 days may not seem like a lot to some but to me, wowee. thank u billion upon billions)

1. Nicki's verse from Monster

Nicki Minaj is one of pop culture's finest feminist role models. She consistently speaks out about the importance of education, women owning themselves and their sexuality in the way that men do, and rightly identifies herself as a rapper - she does not degrade herself to be categorised as a female rapper. This doesn't mean she believes to be female is dehumanising in any shape or form - she's proud to be a woman - however she fully realises that she is at the top of her game and is on par with, if not better than, the top male rappers in hip-hop. As a guest speaker at Oxford University last week, Kanye West admitted that he was destroyed by Nicki in his own song. It's the subject of countless of internet memes, and now it will go down as history as the moment when Kanye's ego was finally murked. He met his match, and I bet he never thought it'd be a woman.
TOP EMPOWERMENT MOMENTyou can be the king but watch the queen conquer. Your successes and accomplishments should not be devalued because of your gender. You should not be placed into a category of 'female excellence' as opposed to simply 'excellence'. It's patronising and ridiculous, doing nothing but further increasing the gender gap, suggesting that women cannot even fathom to reach the standards of men. Sometimes girls are better than boys, and that's a fact of life that needs to be recognised.

2. ***Flawless (feat. Chimamanda Ngozi Adiche) - Beyoncé

As the pinnacle of feminist pop, Beyoncé inspired thousands following her 2014 VMA performance in which she stood firm and proud before the word 'FEMINIST' to promote the 21st century makeover of the movement. The music industry is among the most misogynistic (and, unfortunately, most influential) industries in the world, so this was a huge turning point in the movement's perception in pop culture. Women in music are highly undervalued (for instance, out of the 2015 BRIT Award winners, the only female winners were those nominated in female-specific categories) despite being equally, if not more, successful than their male counterparts. Taylor sold the most albums worldwide last year, Nicki broke countless rap records, and Beyoncé continued to sell out venues across the world, so why are the music industry so reluctant to give women in music praise for their excellence? Regardless of a stuffy corporate male's opinion, we salute you, Bey - thanks for all you have done to promote women's interests.
TOP EMPOWERMENT MOMENT: the sample speech from acclaimed Nigerian writer and social justice fighter Chimamanda Ngozi Adiche. The entire prose piece is ground-breaking but the lines that deliver the most impact are the opening ones - we teach girls to shrink themselves, to make themselves smaller. It's important that, in the future, we refuse to socialise girls in a way that makes them think of themselves as anything but a force of nature.

3. Bros - Wolf Alice

Wolf Alice are the female-fronted act of the year, and - though it should be shocking, but is rather unsurprising - one of only ten female artists booked to perform along with hundreds of other acts at this year's Reading and Leeds Festival. This means there will be only twenty female performances across the two sites over the August bank holiday weekend. Again, this highlights just how much sexism there is in the music industry. It is not entirely the fault of festival organisers, but more of the problem of lack of female role models in rock/indie/alt etc, despite research showing that females are the largest drivers of taste - they decide what is popular and relevant but are under-represented in terms of those who are actually making the music. This festival season is a chance for people like Wolf Alice wonder woman Ellie Rowsell to inspire and encourage the industry to take female acts more seriously.
TOP EMPOWERMENT MOMENT: it may be called Bros, but this song is about nothing but the power of female friendship - me and you / we can do whatever / I'm quite sure. Just because you were born undervalued in the eyes of the patriarchy, doesn't mean you should settle for anything less than incredible things - you were not meant for mediocrity.

4. My Song 5 - HAIM

Whoever says women have no place in rock have clearly never been to a HAIM concert, because they truly put female rock on the map. You better take them seriously, else they'll kick your ass. The GRAMMY-nominated sister trio vibe harder than most bands out there, blowing all competition (male or female) out of the water. Any frontman would find themselves breaking a sweat in a jam session with lead singer and multi-instrumentalist Danielle, but all three are at an equilibrium in performance level and songwriting capabilities. Their quick-witted sass and boppy riffs to match has attracted the attention of critics, an army of fans, and Stevie Nicks, proving that they've dominated a genre that usually suppresses women from succeeding in. Plus My Song 5 has a really boss video to match, with appearances from Grimes and Ezra Koenig.
TOP EMPOWERMENT MOMENT: renouncing themselves of all male possession - honey I'm not your honey-pie. You are more than an object of male desires - you are an embodiment of your own aspirations. They are not dictated by patriarchal values or gender barriers. What can you do to defy expectations?

5. After Hours - The Velvet Underground

When you think of The Velvet Underground, you are immediately picture Lou Reed. Or maybe a banana. However, one of the most underrated, badass females in music has to be Velvet Underground's drummer Maureen (aka Moe) Tucker. She admirably taught herself how to play the drums before gaining respect on the 60s New York music scene (which was probably a million times more sexist than it is now) and continues to demand that respect today through her unconventional drumming techniques. Known for her androgynous exterior, she showcases her sugary sweet vocals on After Hours - one of only a small number of songs which Tucker leant her voice to. As The Velvent Underground was released in 1969, this was an early and significant moment for rock music.
TOP EMPOWERMENT MOMENT: just the fact that someone as amazing as Maureen Tucker exists is empowering in itself. She toured and did studio work while pregnant and with a family; a big fuck you to Nigel Farage's recent comments on Loose Women about how its a "fact of life" that women cannot balance work and family lives and must choose between a career and motherhood. Shoutout to all the incredible working mamas out there, you are loved and you are appreciated.

6. I Will - Sky Ferreira

Ferreira's 2013 debut Night Time, My Time was crafted in electronica-indie heaven, but it was a result of a seven year process which she suffered crippling setbacks and blows to her self-confidence. A year and a bit later, her breakout LP is still as important as it was on its first listen. It's honest and raw, and though still encompassing these elements, I Will is the most brash and outspoken track on the record. Heavy guitars and heavier synths make for blissful levels of female angst. Try screeching along to this when you're drunk.
TOP EMPOWERMENT MOMENT: the entire song is a spicy rebellion about the impossible standards that accompany not only the celebrity persona but also being a woman. It narrates the struggles of female voices being heard among those that deem them to unimportant to listen to. But shout louder, bite back - well it's with me you're messing / I'm gonna teach you a lesson. Be bold and be heard. Forgive me for my misquote, but a famous woman once said something along the lines of "if a man is assertive, he's the boss, but if a woman is assertive, she's a bitch". Defy this, be a hardcore take-no-shit bitch if it means you achieve your dreams and aspirations.

7. I'm A Girl - Peace

This addition is a bit cheeky because, okay, an International Women's Day mixtape should be about celebrating women, but this Peace track - although performed by an all-male line up - celebrates women and femininity. Though we, as humans, should all celebrate each other anyway and shouldn't praise men for appreciating women because that's what they should be doing anyway, it's nice to know that these boys are on our side. As Harry K himself said "sausage rolls: good; gender roles: bad".
TOP EMPOWERMENT MOMENT: a nice renouncement of typical gender expectations for men - the creators of man were calm, kind, and nice / but nature demands / that we fuck, eat, and fire / if you're not macho then try to be funny / if you can't fuck or fight then I hope that you're hungry. An important aspect of feminism is working for equality, and that means dismantling stereotypes that affect both genders. The human race can't achieve equality until we no longer suffer from harmful ideals.

8. Doing It (feat. Rita Ora) - Charli XCX

Pop perfection comes no shinier than in the form of super Brit duo Charli and Rita who undertake Spice Girl levels of girl power in this anthem. Regardless of your opinion of her music, Charli XCX is one of the biggest advocates for female equality in the music industry and has openly spoken out about her distaste for the misogyny in her field of work. Aggressively fun and youthful, it's refreshing to hear something other than a love song by a crooning male or a demeaning piece of crap about booty or some shit on the radio.
TOP EMPOWERMENT MOMENT: the ethos of the song is what stands out most as it's a true celebration of female friendship, showing just what women can do when they put their minds to it. 

9. Feeling Myself (feat. Beyoncé) - Nicki Minaj

No, it's not about masturbation, but does explore an important aspect of female sexuality: identification. Flavoured hot and urban, they are recognising that their greatest weapon is their womanhood. It's something to brag about and they're not shy of it. Yet it's not in a way that they want to brand themselves as "better than" you or I, but in a way that's encouraging taking those key steps to self-love. They have the kind of confidence that we should all aspire to. Destroy the myth that confidence is attractive but cockiness isn't. Who defines where one ends and the other begins? Why is realising your potential anything but an admirable quality?
TOP EMPOWERMENT MOMENT: I stopped the world / male or female / it make no difference / I stop the world - on this International Women's Day, the queens of contemporary pop music want you to step up to the plate and lead your generation. Do something incredible, show-stopping, game-changing that positively influences both your future and the future of those who need it. We, as women, were born to achieve greatness but have spent thousands of years being told we weren't. Stop that motherfucking world.

LISTEN TO THE 8TRACKS PLAYLIST CONTAINING ALL THE TRACKS FROM THIS POST BELOW

Thursday, 12 February 2015

GIG REVIEW: welcome to the weird world of Happyness - Birthdays, 4th February //

for fans of: Mac Demarco, Wilco, Diiv, The Fat White Family, Honeyblood


Down the depths of Stoke Newington Road (well, about a ten minute walk from Dalston Kingsland station) is a disgustingly cute little bar called Birthdays. Being in the general Dalston / Stoke Newington / Islington / Shoreditch area, it's like a watering hole for hipsters. Standing outside drawing smoke out of their roll-ups were a sea of half-fringes, top knots, and Stan Smiths in the shadows of the awning lights.

Underneath the main bar, the bass throbbed with the rumblings of bold, self-confessed DIY rock outfit Nai Harvest. Hailing from Sheffield, it's unusual that they'd pocketed the support slot when a large chunk of the audience appeared to have been there for them rather than the main act. Statistically Nai Harvest are more popular: on average their angsty sounds attract slightly more Spotify traffic, they have four times the amount of Facebook likes, and are much easier to find on YouTube. Yet it is Happyness who had the honour of headlining this particular NME Award show. Other headliners of NME Award shows throughout the first quarter of 2015 include La Roux, Drenge, and the live return of The Cribs, however Happyness are the freshest, sprightliest young band of this crop.


The South London trio are Brooklyn-ready, having only just recently signed to cult label Moshi Moshi - previously nurturing big names such as Eagulls, Kate Nash, and Disclosure. As a welcome gift, the band explained in a slow, mumbled drawl how the label bought them drinks and a keyboard, which they exercised for the first time during the live debut of Regan's Lost Weekend (Porno Queen) - a dreamy piano ballad that manages to burn in one slow, steady swoop while paced by acoustic undertones.

Though none of the audience past the second row could see much else but 66.6% of the band - and even so, only their bobbing heads were visible over the crowd - they still managed to exude a very endearing stage presence. Their clumsy transitions and stuttering crowd talk was masked by their Dr Jekyll effect: Happyness manage to spout two very different sounds. There's no in between in their extremes: they produce either flossy garage turmoil or provocative dark-pop. The latter seemed to conjure the most rhapsodic reaction, particularly concerning brooding ballad Montreal Rock Band Somewhere / (one of my top 22 tracks of 2014).

photo creds: Michael Jamison
Among the crowd, I'd never seen so many long-haired men congregated in one place. Their curls bounced on their shoulders as they bopped around to beefed up versions of tracks from Happyness' aptly-named debut Weird Little Birthday - set to get its third reissue in March. Though their live sound is yet to be properly fulfilled - it still feels a tad empty and amateur - they still managed to amplify the sonically enjoyable but simultaneously super strange It's On You and tongue-in-cheek Great Minds Think Alike, All Brains Taste The Same into powerful little ditties. Bright grunge cheekiness may not be so evident in the greasy purr-a-long Baby, Jesus (Jelly Boy), until you clock lyrical gems such as "I see people come in twos / just like breasts do". It may be the third time I'd seen them live, and the umpteenth time I'd listened to that lyric, but their oddities always make me smile. Whether they were born that way, baby, or perpetually on some kind of mushroom remains to be seen. By the end of the set, Happyness had almost made a comfort zone alongside the excellent sound system and neon-lighted rainbow of Dalston's underground universe.

With a band of this much pizazz and novelty, it's no wonder that NME (notorious for being up Alex Turner's arse, but are always to be trusted to seek out zippy new talent) has got their back. Listen to their boisterous new 90s-esque single, A Whole New Shape, below.


CATCH HAPPYNESS ON LIVE DATES WITH JAWS ACROSS THE UK THIS YEAR
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Thursday, 5 February 2015

GIG REVIEW: Amber Run - Dingwalls, 3rd February //

for fans of: Saint Raymond, Coasts, Young Kato, We The Wild, Bad Suns


The Communion Music Group have a refined taste for supporting the freshest new talent. Acts they've previously backed include rock newbies Twin Peaks as well as bona-fide folk stars Ben Howard and Matt Corby. Feel-good pop quintet Amber Run were hand-picked by Communion to headline their second annual sold-out New Faces tour this Autumn. With songs that already sound like hits so early in their career, the world's a stage for the Notts boys. But just who are Amber Run?

No, not Wiz Khalifa's bald ex-wife. They're on all my Spotify playlists, they're frequently played on XFM, their logo was spray painted all over Bristol when I visited this summer, and they have opened for acoustic balladeer Lewis Watson, but I knew little about them. I discovered quickly that they have quite a substantial following, especially in their hometown of Nottingham, but after some digging around the blogs I happened upon some thought-provoking comments. A particular YouTube comment summarises the general feeling as they described the band as "middle-class indie drab". The other night in the cloakroom queue I heard snippets of the following conversation:
Man #1 (early-20s): Did you enjoy it?
Man #2 (mid-20s): I did actually - they're pretty good for posh pop
This kind of thing gets thrown around a lot, and you wonder what it really means. How tightly has capitalism grasped the bottom of the music pile? Are the underground nobodies of bandom actually just another classic example of the rich getting richer? Is there actually anything that bad about "posh pop"? All the rhetorical questions, but no answers.
(Disclaimer: I do not know Amber Run or their background, and so the entirety of the argument below is based upon speculation alone. But I do believe one of the members is called Felix, so.)

Define posh pop: a fairly modern revolution where the music industry has become the latest to fail the working class by ways of capitalism championing the middle and upper-middle classes. Again. Previously, the ones who succeeded in British music were the likes of the McCartneys and the Morrisseys but, in more recent years as the war against the working class wages on, the ones at the top are more likely than not privately educated. Chris Martin, Mumford & Sons, and Florence Welch are the most classic examples, and if I ever have to hear about Lily Allen sing about 'the streets' or 'the ghetto' one more time, I'm going to scream. Noel Gallagher has recently hit out at musicians of socio-economic privilege making it a hot topic of discussion (though in the past month, he's hit out at everyone from Ed Sheeran to Alex Turner, probably all in promotion of his newest album, and to be honest, no one really gives a shit what he says anyway). With funding into arts education slowly being shoved out the window by the Conservative government, the only people that can be educated in music and other arts subjects are the ones who can afford it. Even indie heroes like Peace and Bombay Bicycle Club have come from more privileged upbringings, which begs the question - is success even in this lucrative market still down to genuine talent, or the ability to financially support your way into the big time? Personally, I'm not sure where I stand on the issue: on one hand we don't need to contribute to any more demonization of the working classes - in what fields are we supposed to succeed in then? - but similarly, why should noses be turned up at talented young people because of the way of life they've been born into? It's a complicated matter that I don't feel able to weigh in on just yet.

So what does this mean? In short: nothing. In something as vast, exciting, and innovative as music, backgrounds shouldn't matter. To judge a band shouldn't it really all come down to the most obvious thing? In terms of Amber Run, they're passionate enough about making genuinely good music to drop out of Nottingham Uni and pursue the band dream, hence silencing the classist warriors. With the February leg of their UK tour selling out venues - including Camden's Dingwalls - across the country and an upcoming April tour consisting of some of their biggest headline shows to date, what can distinguish Amber Run from the rest of posh pop?


First it's the range of their appeal. Scattered among the audience was practically everyone within the realms of ages 14-54. Generally, this is a good sign: a nice even mix of people means that you're attracting enough young people to hit the mainstream, enough industry-types to create a buzz and a name for yourself, and enough older people to, err, well, have sing-along drunks in the audience.

The other, fundamental, recipe to their charm is the ability to utilise their talents in all the right places. For example, lead singer Joe Keogh's voice is the definition of divine - with pipes like that it's no way that he couldn't have had a choir boy past. Though strong, composed, and on-key throughout the set, it stood out on chilling opener I Found. Chosen as one of my top 22 tracks of 2014, the five-piece harmonies are just as delicious live as they are on the recorded version and captivated the audience in a split second. With little lights transfixed into the backdrop of the stage, the palatial vocal-synth blend made for a transportation to somewhere glorious.

They continued to churn out stellar tracks throughout the set - a perfectly timed length that made you think "is that it?" before you realise just how much time had flown by while you were enveloped by their joviality. Amber Run craft songs that focus so heavily on impact and so their lyrical weakness becomes a bit more prevalent. But don't sweat it, as a new band, their skill will eventually evolve so that their strengths in punchy instrumentals work in cohesion with a lyrical ability that's not quite there yet.

Nonetheless, crowd interaction is what the band nourish their vigour with. Take Pilot, for example; the commoving first track off the eponymous EP is the definition of a crowd-pleaser. Anthemic, and almost power ballad-esque, without the 80s hair to match. Throbbing drums wizzed around Dingwalls' notoriously questionable sound system before the thunderous impact of the guitars kicked in. This is matched in Spark - a favourite for those who enjoy vigorous hand-clapping and zesty chanting - and the very Mumford and Sons-y Noah. While Kites' rustic acoustic guitars and the charm of Heaven are peachy enough, they don't pack as much punch as some of the other corkers in the Amber Run catalogue.

In response to the two men I overheard in the cloakroom queue: before us are a very important band in terms of putting the fun and games back into music, and shouldn't be overshadowed by whatever label they've been defined as. Posh pop or otherwise.

CATCH AMBER RUN ON THEIR UPCOMING UK TOUR IN NOTTINGHAM, LONDON, MANCHESTER + NEWCASTLE
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