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Orwellian Overtones: An Interview with Composer Peter Xifaras on “Dystopian World”

Posted on 6 June 2024

In this interview, classical composer Peter Xifaras discusses the intricate themes behind his latest album, “Dystopian World.” Inspired by George Orwell’s 1984, Xifaras confronts modern issues such as surveillance, freedom of speech, and information manipulation through his music. His work blends traditional orchestration with contemporary recording techniques, creating a soundscape that speaks to today’s societal challenges. The album makes a powerful artistic statement while encouraging listeners to reflect on the pressing issues of our time, highlighting the relevance of classical music in contemporary discourse.

Peter Xifaras, it’s a pleasure to sit down with you to discuss your upcoming classical album, Dystopian World. The title gives plenty of clues to the underpinning themes of the album, but we’d love to know the motivation that drove you to compose such a viscerally heartrending release.

It isn’t all too common for classical composers to tackle themes of social change in their work. In your opinion, why is classical music a good means for opening an existential dialogue and spreading awareness that we’re effectively sleepwalking into obsoletion?

The reason I chose this medium for the project is two-fold:

The album deals with dystopian themes infiltrating society that are of significant relevance today, especially with young people given recent events around the globe. Hence, by messaging these thought-provoking concepts via classical music, it presents a unique opportunity to expose this genre to a younger audience who may have never thought of giving this style of music any consideration.

Secondly, I think when most people think of classical music, Bach, Beethoven and Mozart immediately come to mind. However, there are composers in the ‘classical’ field that incorporate modern recording techniques such as electronics & loops with a traditional orchestra that have emerged in recent years. Dystopian World does incorporate some of these modern techniques, in addition, the compositions are presented in bite-size chunks in 2 to 4-minute tracks to keep the audience engaged – sort of how rock & pop music is presented on a playlist or album.

How does the album fit in with your day-to-day worldview?

My day-to-day world view is changing day-to-day! And I’m probably not the only one. In my opinion, George Orwell’s fictional work, 1984, has become a reality in the dystopian state of our current world thru surveillance technology, freedom of speech, information manipulation, censorship, redefining language, privacy erosion, propaganda, individuality, groupthink, and the value of truth.

A Google search revealed many of the talking points below from which writings from these sources are presented as follows:

SURVEILLANCE: The proliferation of surveillance technology has surpassed anything Orwell could have imagined. As people become more reliant on technology, the potential for abuse grows with the ability to track individuals’ movements, behaviors, and even conversations, both online and offline (think Amazon Echo, Google Home, Siri, Smart TV’s that listen, Apple air tags). This invasive surveillance infrastructure evokes the omnipresent “Big Brother”. Although AI technology holds great promise for societal progress, it also comes with significant risks that echo the Orwellian themes

FREEDOM OF SPEECH: Another critical aspect of Orwell’s “1984” is the suppression of freedom of speech. There is a pattern of increasing censorship on social media platforms, with dissenting voices silenced and marginalized. This chilling trend leads to narrowing public discourse, creating an environment where independent thought becomes increasingly rare. In some cases, governments and corporations wield their power to silence critics and whistleblowers, while in others, individuals self-censor out of fear of social backlash. This stifling atmosphere resonates with the oppressive regime portrayed in “1984”.

INFORMATION MANIPULATION: In “1984,” the government manipulated information to control the populace. Today, we face a similar challenge with the spread of misinformation and disinformation online. Social media algorithms prioritize sensational content, contributing to a distorted perception of reality and undermining trust in institutions. Deliberate campaigns to sow confusion and doubt further exacerbate this issue as malicious actors exploit the digital landscape to advance their agendas. This manipulation of information echoes the actions of Orwell’s fictional government, which rewrites history and fabricates facts to maintain its grip on power. AI technology is also being employed to monitor and control online information flow. Algorithms can automatically detect and remove inappropriate or offensive content, potentially suppressing free speech. While this technology is often used with good intentions, such as combating hate speech and misinformation, powerful entities can also abuse it to silence dissenting voices and manipulate public opinion.

PRIVACY EROSION: As individuals lose control over their digital footprint, the potential for manipulation and coercion increases. Invasive data collection practices and weak privacy protections have left individuals vulnerable to identity theft, targeted advertising, and government surveillance. This loss of privacy mirrors the intrusive monitoring of citizens in “1984,” where every aspect of life was subject to scrutiny and control.

PROPAGANDA: Today we see the pervasive influence of propaganda through advertising, political campaigns, and media manipulation. The advent of deep fake technology has introduced unprecedented sophistication to propaganda efforts, allowing for the creation of convincing but entirely fabricated audio and visual content. This manipulation of perception and reality parallels the tactics employed by Orwell’s fictional government, which uses propaganda to shape public opinion and suppress all dissent.

CONFORMIST SOCIETY: The pressures of social media and the expectation to conform to certain ideals can lead to the loss of individuality. People may feel compelled to present curated versions of themselves, stifling their authentic self-expression. As individuals strive to fit societal expectations, they risk losing their unique identities and perspectives. This suppression of individuality aligns with Orwell’s portrayal of a society where personal expression is discouraged and collective conformity is enforced.

GROUPTHINK: Today, the prevalence of echo chambers on social media platforms can also promote groupthink, leading to a polarized society where dissent is vilified and critical thinking is discouraged. This fragmentation of public discourse contributes to ideological bubbles, where individuals surround themselves with like-minded people and reinforce their existing beliefs. As a result, society becomes increasingly divided. AI can also influence individuality and groupthink in subtle ways. Personalized social media and search engine algorithms can create echo chambers, reinforcing individuals’ beliefs and biases. This can increase polarization and conformity, as people are less exposed to diverse perspectives and ideas. In this context, AI may inadvertently contribute to the suppression of individuality and the promotion of groupthink, similar to the dynamics in Orwell’s dystopian society.

VALUE OF TRUTH: Orwell’s “1984” portrays a world where objective truth is disregarded in favor of government-sanctioned narratives. Today, we face the challenge of distinguishing truth from falsehood amidst misinformation. As the value of truth diminishes, societies risk falling prey to manipulation and deception. The emergence of the term “post-truth” indicates this troubling trend, as it suggests that emotional appeals and personal beliefs have overtaken objective facts in shaping public opinion. In this era of alternative facts and fake news, the pursuit of truth becomes a daunting task, reminiscent of the constant struggle faced by the protagonist in “1984” to discern reality from fabrications.

Where and how was Dystopian World recorded?

The main Orchestra was recorded in Prague by the Czech National Symphony Orchestra, Vladimir Martinka, conductor. Living in the USA, I chose to attend the recording via a remote Zoom session as opposed to flying to Prague. This is all coordinated thru Musiversal who sets up the recording session, orchestra times, etc. For this session, I worked with Rita Tulha, Enrico Fallea, Alex Palmer, Jan Kotzmann & Vitek Kral – a great bunch of folks. The solo violin parts were recorded by Xander Nichting in Belgium at Violin-Tracks. Xander is a multi-talented artist who also performed on my previous jazz-fusion release on electric violin. After all the tracks were recorded, I edited, arranged & mixed them via my studio at Music With No Expiration®. The final phase of the process was to work with Michael Cuneo over at NeverNever Music Production in Los Angeles where the tracks were Mastered.

What was the most gratifying part of bringing this album to fruition?

I’m big on marrying music with video & film. I think when both are combined, the messaging then explodes. Each track on ‘Dystopian World’ has its own music video – so for me, when this comes together, the end result is the pinnacle of gratification as all the pieces finally fit together that were once only a concept in my mind.

How would you like the album to be received?

Hopefully, the music is received in a positive light, and the messaging received as a warning. As George Orwell stated, “Don’t let it happen, it is up to you”.

Focusing on your composition style, what sets you apart from your contemporaries?

My last 3 albums have focused on ‘music for social change’. ‘Children Of Conflict’, an album also recorded by the CNSO, focused on children who daily are faced with simply trying to survive in the conflict zones of the world (i.e., Middle East, Ukraine, Afghanistan), children who have never had a choice and live under the consequences of decisions made by rogue governments and dictators. ‘Fusion’, is a jazz fusion album that features a song titled While My Guitar Weeps For Mehdi Rajabian. Mehdi was imprisoned in Iran for making music deemed unacceptable by the government where he was beaten & tortured and came close to death. The song was dedicated to him celebrating his bravery. Mehdi went on to become the first musician to win the United Nation’s international art contest for minority artists. Now with my current release, ‘Dystopian World’, I once again have an album that includes a ‘music for social change’ element to it. Compositionally, the music of these albums are dramatic and all contain powerful social messaging – perhaps that is what sets the style apart from others.

What’s next for Peter Xifaras?

I’m going to lighten it up a bit and release variations on a melody as timeless as time itself originally written in the 16^th century. The work has already been recorded and I’ll begin work on editing, mixing & arranging probably in the Autumn. I’m also going to release some singles thru my symphoneX Orchestra® project that is cross-over in nature with some very cool guest artists participating.

Anyone interested in checking out ‘Dystopian World’ can go to this link: https://orcd.co/nq5bpoq

Interview by Amelia Vandergast

Emma Hunter Shot to Kill Sonic Banality in Her 3rd EP, Morire

Posted on 22 April 2024

Emma Hunter’s third EP, Morire, emerges as a defiant rejection of sonic predictability, marking a high point in the Oxford-based singer-songwriter, guitarist and loop artist’s career with a collection that’s as audaciously raw as it is artistically sophisticated.

With Tom Bruce’s trip-hop-infused percussion, the 50s-inspired Flamenco-guitar-licked EP unfolds a landscape soaked in cinematic tones and intricate, chanteuse-esque harmonies that narrate a four-part poetic anthology of turmoil. Every chapter brings you closer to the darkest corridors of the mind as it navigates an imperfect world, filled with vices and prejudices.

Starting strong, Guilty pierces the veil of comfort with its visceral energy and poignant lyrics, exposing the unnerving ease with which we catastrophise – it’s enough to open a window into your own soul. This duskily strident opening salvo sets a formidable standard, intricately balancing fiery guitar work with solid percussive rhythms as Hunter lyrically unravels through an insurgence of relatable unease. The robust instrumental work anchors Hunter as she carries the weight of the world, surrounded by demons and they tease the end of the world after inconsequential incidents.

Love is Not a Choice follows, dissipating the initial turmoil into an anthem of acceptance. The track stands bold in its portrayal of love’s inherent defiance against societal norms, offering a melody that radiates warmth and liberation. As you drench yourself in the sun-soaked bliss of the flourishing serpentine rhythms, you surrender to the true, unbiased nature of love. In an era that is increasingly hellbent on insisting everyone stays within the heteronormative mould of hegemony, you see that the only choices made in relation to love is discrimination.

Awaken Me introduces itself with Hunter’s looped vocals artfully circulating over waves of ambience before the first verse crashes onto the shore of the single, plunging into the thematic deep waters of personal rebirth and spiritual stagnation. You can’t help but be pulled into the undercurrents of the compassionate lyricism which aims to pull the listener out of deep water as Hunter aches for an emotional awakening. The interplay of confession and compassion opens a deeply affecting affirmation that sometimes, healers need to heal.

Finally, the titular track, Morire, presents a harrowing narrative of watching a loved one tend to their vices and sink into personal decay, culminating the EP on an aching note. The paralysing power in Hunter’s vocal prowess reaches its zenith here as she exudes primal agony while never losing her ability to artfully hold notes in a delicate balance of pain and pitch-perfection, delivering a poignant exploration of loss and helplessness with a backdrop of soul-stirring crescendos.

With the Morire EP, Emma Hunter, alongside Tom Bruce, carved a niche in the alternative music scene that resonates with both intimacy and grandeur, making the release a compelling listen for those who seek depth and defiance in music.

Morire was officially released on March 29; stream the EP on Spotify and Bandcamp.

Follow Emma Hunter on Facebook and Instagram.

Review by Amelia Vandergast

Why Musicians Shouldn’t Overlook TikTok’s Influence Over the Music Industry

Posted on 9 March 2024

TikTok’s ability to catapult musicians into the viral fame stratosphere is hardly the music industry’s best-kept secret. Everyone from Lil Nas X to Selena Gomez to Lizzo to Doja Cat owes some degree of their success to the platform, which is often largely disregarded by people outside the Gen Z generation as a breeding ground for narcissism.

The controversial platform has also proven efficacious in turning older songs into new viral hits, which find their way back into the charts or reach the music charts for the first time. While there is some degree of luck and chance to the viral TikTok fame formula, there are ways to increase your chances of ensuring your music resonates with the new generation of music fans.

In this article, we will touch on how to leverage the platform for success, in the same vein as Mother Mother, and how TikTok fame translates to success outside of the platform.

How Mother Mother’s 2008 Single Shot to Viral Fame Overnight in 2021

The Canadian indie band Mother Mother is a testament to the power of adaptation and evolution. Their journey, particularly post their viral TikTok fame in 2020, is a fascinating narrative of how modern platforms can redefine an artist’s journey to success. After 15 years of steady, yet under-the-radar, work in the music scene, Mother Mother’s trajectory took a dramatic and unexpected turn, thanks to the social media powerhouse.

The band experienced a seismic shift in their career when their 2008 album ‘O My Heart’ found unexpected fame on TikTok. The standout track ‘Hayloft’ became a viral sensation, amassing over 635,000 videos on TikTok and nearing 263 million streams on Spotify. This surge in popularity was a stark contrast to their status two years prior, where they had approximately 1.08 million monthly Spotify listeners. Post-viral success, this number skyrocketed to 7.33 million, peaking at 8.17 million in April 2021.

Interestingly, ‘Hayloft’ was originally deemed too unconventional for mainstream radio, the song found its audience over a decade later among the Gen Z users of TikTok. Its quirky, genre-bending nature resonated with a generation known for its embrace of diversity and rejection of traditional norms.

The band’s response to this newfound fame was ingeniously strategic in 2021, they released ‘Inside’, an album that came 13 years and five albums after ‘O My Heart’. This release was followed by an intriguing move – the tease and eventual release of ‘Hayloft II’, a sequel to their viral hit. This sequel was part of an extended version of ‘Inside’, offering fans a fresh take on the beloved ‘Hayloft’ melody and lyrics.

This strategic release sequence not only maintained the momentum but also deepened the engagement with their audience. Within a week of its release, ‘Hayloft II’ was used in over 35,000 TikTok videos and garnered 3.4 million streams on Spotify, with the music videos for both ‘Hayloft’ tracks collectively hitting 2.5 million views on YouTube.

How to Gain Traction on TikTok

Mother Mother’s story is a striking example of how artists can leverage viral success to not only sustain but also expand their creative horizons. While Mother Mother’s fame even left the band perplexed as to how it happened and not every artist can bank on winning the same virality lottery, musicians wanting more traction behind their careers shouldn’t overlook the platform’s influence over the music industry. Here’s how to get started.

Leverage Trends and Challenges: TikTok thrives on trends and challenges. Musicians can gain traction by creating content that fits into or inspires these trends. Creating a catchy, easily replicable hook can encourage users to create their own content with the song, amplifying its reach.
Authentic Engagement: TikTok users value authenticity. Musicians who engage genuinely with their audience, respond to comments and participate in trends themselves can build a loyal following.
Collaborations: Teaming up with popular TikTok creators or other musicians can expose an artist to new audiences. Collaborations can take the form of duets, challenges, or simply using each other’s music in videos.
Consistent Posting: Regularly posting content keeps an artist visible and relevant. This doesn’t always mean only posting polished music clips; behind-the-scenes footage, songwriting processes, or personal stories can also resonate with audiences.

Hashtag Usage: Strategic use of hashtags can increase the visibility of content. Including trending hashtags, as well as specific music-related tags, can help a musician’s content surface in more users’ feeds.

Snippets and Teasers: Releasing short, catchy snippets of songs can generate interest and anticipation for the full version. This tactic can lead to users checking out the artist’s other work or streaming platforms.

Adapting to the Platform: TikTok’s format favours short, engaging content. Musicians need to adapt their music to fit this format, focusing on creating impactful, concise clips that capture attention quickly.

Interactive Content: Encouraging user interaction, such as asking for duets, remixes, or reactions, can increase engagement. This also gives fans a sense of participation and connection with the artist.

Understanding the Algorithm: TikTok’s algorithm favours content that keeps users on the app longer. Understanding and adapting to these mechanics, such as creating loopable content or videos that encourage repeat views, can help in gaining traction.

Embracing Virality: If a song or artist starts gaining traction, it’s crucial to capitalise on this momentum. This could mean creating more content around the trending song, engaging with users who make videos with it, or quickly releasing related music.

How TikTok Fame Translates to Success Away from the Platform

When a musician goes viral on TikTok, their visibility skyrockets. This newfound fame means more people are aware of the artist, which naturally leads to increased interest in their live performances, streaming their music, and purchasing their merchandise. Here’s how the success typically translates to other domains.

Spotify Streams: Viral TikTok songs often lead to a surge in Spotify streams. Users who discover a song on TikTok are likely to search for the full version on streaming platforms. Additionally, TikTok’s short format leaves users wanting more, driving them to platforms where they can listen to the entire track or album.

Converting Followers to Fans: TikTok followers can quickly become dedicated fans. As these followers develop a deeper interest in the artist’s work, they are more likely to buy concert tickets and merchandise. This conversion is often facilitated by the artist’s continued engagement and content creation that resonates with their audience.

Cross-Platform Promotion: Musicians often use TikTok fame to promote their activities on other platforms. For instance, they can announce new music releases, concert dates, or merchandise drops on TikTok, directing traffic to Spotify, ticketing websites, or online merch stores.

Algorithmic Boosts: The algorithms of platforms like Spotify often take cues from social media trends. A song trending on TikTok is likely to be featured in Spotify’s popular playlists, further increasing streams and visibility.

Merchandise Sales: TikTok allows artists to showcase their personality and brand, which can be leveraged in their merchandise. Fans who feel a connection to the artist are more likely to purchase merch as a way of supporting them.

Tour and Event Promotion: Artists can use TikTok to promote tours and events directly to a highly engaged audience. Viral fame can lead to rapid ticket sales, as fans are eager to experience the music they’ve enjoyed on TikTok live.

Collaborations and Sponsorships: TikTok fame can lead to collaborations with other artists or brands, further increasing an artist’s exposure. These collaborations can also include exclusive merchandise or sponsored content, leading to additional revenue streams.

Conclusion

If you want to connect with the new generation of music fans, put your music in front of them. If you’re always relying on Instagram and Facebook and then lamenting about the pitiful reach of your posts, this is a sign that your social media music marketing game needs to evolve in line with contemporary digital trends.

Use TikTok to market your new releases and your older material that you think would resonate with the new generation of music fans. Pour the same creativity you use in your music into marketing it and see what mark you can make on the increasingly digital music landscape.

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For more A&R advice, enquire about our artist consultancy services today.

Article by Amelia Vandergast

Bag of Cats ignited a firestorm of twisted genre contortions in their dance-punk hit, Devil at My Houseparty

Posted on 26 February 2024

If you never got over the disbanding of the Eighties Matchbox B-Line Disaster, wipe your tears with the kinetic rhythms in the seminal single from the Welsh dance-punk duo, Bag of Cats.

Devil at My Houseparty, featuring Will Griff, is a mind-mashing blend of psych, garage rock and proto-punk, all pulled together by punk-pierced guitar loops and alt-electronica synthetics that augment the anthemic track to the nines.

Between the rolling rhythms, distorted blues riffs, and caustically infectious electronic elements inspired by the likes of LCD Soundsystem and Jamie T, Devil at My Houseparty is a firestorm of twisted genre contortions that will make your pulse pound and get the adrenaline flowing.

The magnetic appeal of the duo comprising Sophie Holliday and Barney Williams doesn’t end there; lyrically and vocally, Bag of Cats, couldn’t be more ensnaring. They’ve perfected the formula of playfully roguish swagger. The mischievously jocular vibe is definitively rock n roll, just not rock n roll as you’ve known it before.

In the process of giving the Welsh music scene more than it bargained for, Bag of Cats has garnered a staunch fanbase which only seems to grow with every release and livewire performance.

Devil at My Houseparty is now available to stream via Spotify.

Review by Amelia Vandergast

The Parallels Between Legacy Acts’ Faux ‘Farewell’ Tours and Independent Artists Deceptively Using Scarcity Marketing

Posted on 26 January 2024

After Ozzy Osbourne decided that his No More Tours tour (1992) and his No More Tours II (2018) tour didn’t give him the chance to properly say goodbye to his fans leading to the announcement of more farewell shows at Aston Villa, I couldn’t help but delve deeper into the phenomenon of faux farewell tours as a marketing ploy and how they correlate to independent artists deceptively using scarcity marketing to sell tickets.

While I understand that independent artists need to use a ‘by any means necessary’ ethos to shift tickets and ensure there are more punters than staff in a venue, there are infinitely better ways to promote gigs than by manipulating fans and gaslighting them into believing they will be among throngs of other people when really, they will rock up and awkwardly try to fill space in an almost entirely empty room.

And, of course, while some false alarm farewell tours may be completely innocent and playing one shouldn’t mean that the door to the live music industry is closed forever, manipulative marketing can corrode the relationship between artists and fans through loss of trust and diminished loyalty when it becomes apparent that short-term gains are more important than long-term relationships. Even though there is never any lack of interest in comeback tours which follow farewell tours, for fans who have gone out of the way to attend final shows, it is natural that a significant proportion of them will be left feeling exploited after being driven by the compulsion to see the final chapter in that band’s live performance history.

The Infinite Loop of Farewell & Comeback Tours

The music world is rife with tales of bands and artists who’ve announced their final tours, only to return to the stage later. Here are just a few examples.

The Rolling Stones has hinted at retirement several times over the decades. Despite numerous ‘farewell’ tours, they continue to surprise fans with new tours – take every farewell from the Stones with a pinch of salt.
Cher is known for her spectacular ‘farewell’ tours and has made a habit of retiring and then returning to the stage. Her ‘Living Proof: The Farewell Tour’ (2002-2005) was followed by a Las Vegas residency and the ‘Here We Go Again Tour’ in 2018.
Jay-Z announced his retirement in 2003 with The Black Album. However, this retirement was short-lived, as he returned with Kingdom Come in 2006 and has been active in the music scene ever since.
Mötley Crüe signed a ‘cessation of touring’ agreement in 2014, declaring they would never tour again after 2015, Mötley Crüe blew up the contract in 2019 and announced their return to touring.
LCD Soundsystem announced their disbandment in 2011, complete with a grand farewell concert at Madison Square Garden. However, they reunited in 2015 and have been active since.
Fleetwood Mac, known for their tumultuous band dynamics, has had several ‘final’ tours. Despite various line-up changes and farewell tours, they continue to reunite and perform.
KISS embarked on a ‘Farewell Tour’ in 2000-2001. However, they returned to touring and have continued to perform live, including their ‘End of the Road World Tour’ which started in 2019.

How Farewell Tours Are a Highly Effective Marketing Ploy

To understand why some artists may keep coming back time and time again, it is crucial to understand what the announcement of such a tour can do to the ticket-buying public.

Creating a Sense of Urgency

The announcement of a ‘final’ tour creates a sense of urgency among fans. It’s the last chance to see the artists perform live, or so it seems. This urgency can drive ticket sales, as fans rush to seize what they believe is a once-in-a-lifetime opportunity.

Amplifying Emotional Engagement

Farewell tours often strike a deep emotional chord. They’re not just concerts; they become poignant events, celebrations of an artist’s career. This emotional angle can be a powerful driver for fan engagement and can elevate the perceived value of attending the concert.

Boosting Publicity and Media Coverage

Announcing a farewell tour is a surefire way to capture the media’s attention, generating buzz and heightened publicity. This increased media coverage can translate into broader awareness and potentially attract even casual fans or those who might not have considered attending a concert otherwise.

Reinvigorating Interest in the Artist’s Work

A farewell tour can also reignite interest in an artist’s discography, leading to increased sales of albums, merchandise, and digital streams. It’s a way of putting the spotlight back on their body of work, perhaps introducing it to new audiences.

Setting the Stage for a Comeback

In the rhythm of music careers, a ‘farewell’ tour followed by a comeback can be a strategic move. The return can be marketed as a triumphant or unexpected encore, tapping into the joy and relief of fans who thought they had missed their last chance to see their favourite artists perform.

Financial Incentives

Lastly, the financial aspect cannot be overlooked. Farewell tours often command higher ticket prices and can be more lucrative due to their ‘last chance’ nature. A subsequent comeback tour can then capitalise on the renewed or sustained interest.

While not all farewell tours are disingenuous, the pattern of artists returning after a ‘final’ tour suggests that, in some cases, these farewells are more of a strategic intermission than a true finale.

How Independent Artists Try Their Hand at Music Marketing Manipulation

Independent musicians often employ scarcity marketing when selling gig tickets as a strategic way to create a sense of urgency and exclusivity, which can boost sales and fan engagement by exploiting music fans’ compulsion to do whatever they can to stave away fear of missing out. However, when it is all smoke and mirrors and no urgency is needed, attending the show can be the anti-climax of the gig-purchasing and attending experience. You know what, I’m not even going to say anything else on this note; I will just leave you with the comedian Josh Pugh’s parody of independent artists trying to shill tickets in this way.

When your show hasn’t sold well. pic.twitter.com/hFq9Y7vTB4

— Josh Pugh (@JoshPughComic) January 6, 2022

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If you are looking for better ways to shift tickets to upcoming shows, read our blog on how to promote gigs in a fragile live music industry.

Article by Amelia Vandergast

Crafting Beats and Carving Paths: An Exclusive Conversation with The Blaqsmith

Posted on 9 January 2024

In the dynamic realm of Hip-Hop, some artists stand out not just for their beats but for the unique journey they embark upon. Tha Blaqsmith, a trailblazer since 2011, entered the musical scene with no formal composing background but armed with an unparalleled willpower and a penchant for vinyl records and drum breaks. Several releases down the road, he continues to infuse the new generation of Hip-Hop with his essential raw, dope, and chill essence. Join us as we delve into his journey, upcoming releases, inspirations, and an exploration of his impressive discography.

Your journey in music began in 2011. How did you navigate the initial challenges of entering the industry with no formal composing experience, and what motivated you to pursue a career in Hip-Hop?

I just learned and observed a lot of knowledge from reading and watching interviews on hip-hop greats. Google and YouTube was my actual mentors for music. I always had a knack for putting different sounds together, but I never played or used an instrument in my life. And living with my mom and my brother, we were lower middle-class people that often times could afford things but we didn’t at times especially when it comes to music equipment. And growing up, I never had an instrument. I will always make beats with my mouth or my hands Once I had my hands on a drum machine. It was a wrap. Having a drum machine motivated me to do this. The process of making a beat from scratch in your own creation, fascinate me.

With several releases under your belt, including “THE PATH TO SUCCESSION” and “The Last Days EP,” can you share some insights into the themes and inspirations behind these projects? How has your artistic vision evolved over the course of your discography?

The Path to Succession is basically whatever path that you’re on, don’t ever give up on that path because you never know, you might be closer than you think. So I tried my best to make certain instrumental beats that give you that motivated vibe to keep going forward. The Last Days, is whatever you’re doing in life, doesn’t matter what your profession, as long as you give it a 100% on it, even if it’s your last day on this earth.. my idea for the album was to be more precise and discipline instrumental album. I have a certain vision for my albums, because nowadays it’s not a lot of content with music, it’s just a lot of music with no meaning so I try to keep a good content with it to give the audience.

What upcoming releases can fans anticipate from The Blaqsmith, and can you provide a glimpse into the creative process or themes we might expect in your future projects?

I have a few upcoming releases coming out in 2024. I have a Beattape coming out pretty soon called “LOOPMANIA” just basically an instrumental album full of reoccurring loop instrumentals. Most likely it will be a series of LOOPMANIA going forward. I have a few remixes beat tapes in the works and more collaborations as well.

In the ever-evolving landscape of Hip-Hop, who or what are some of your primary inspirations? How do you incorporate these influences into your work while maintaining your distinct musical identity?

J Dilla is my all-time inspiration, but I have some on Honorary inspirations like, 9th Wonder, The Alchemist, Timberland, Dr. Dre. I’m a hip-hop head so I know what those guys bring to the table. I’ve always love that gritty, eerie underground, smooth sound. Those vibes are immaculate and that’s why I like implementing that into my sound.

Your discography reflects a range of collaborations and projects. Could you shed light on any particular collaborations or associations that have significantly impacted your artistic journey? How do these collaborations contribute to the growth of The Blaqsmith as an artist?

I did an EP with an artist from the inland empire and my closest friend “El Fuggins”. He’s very talented. Raps, sings, direct. At first, it was a little difficult to mesh with him but after a while, he motivated me to think outside the box, in the area where I was accustomed to. The name of the EP is called “Heel Turn” Heel is a term for a wrestler when he becomes a bad guy. “Babyface” is a term good guy. So we made this EP not only because we’re wrestling fans but to shed light on the comparison between wrestlers and musicians. There are so many musicians, releasing good music, that it never has the good following or fan base to support it and the artist normally goes rogue or gives up on the art. I typically don’t want to give up. Lol. The whole album process made me think more creatively and to be more unique around making beats and I like being challenged in those moments. Not only I learn, but I also evolve, musically.

Find out more about The Blaqsmith here.

Areeyedee’s latest single Insomnia is a waking industrial trap pop nightmare

Posted on 1 January 2024

With a sound as dark as the mise en scene from The Machinist, Areeyedee’s industrial trap pop single, Insomnia, conjures the disjointing and reality-warping nature of the depression symptom which creates 48-hour days where we’re left to replay twisted thoughts on a loop.

By capturing the nature of the beast and refusing to downplay the psychological downfall of the rabbit holes insomnia can take us down, the Kansas-born and raised, Darmstadt, Germany-based artist created a razor-sharp cutting exposition of mental disquietude in his lyrics and his aptly maniacal vocal delivery. With every line, he washes away the stigma while the branding of his sonic signature glows red hot through the release.

After fronting a rock band in the ’90s and landing the role of a hip-hop artist in a feature film, which made him fall in love with the genre, Areeyedee effortlessly melds the alternative with urban aesthetics in his discography, which includes tracks created with the multi-platinum producer, Freek Van Workum (21 Savage, Tech N9ne).

Insomnia will drop on January 1^st; stream the single on SoundCloud.

Review by Amelia Vandergast

How Rock n Roll Legacy Bands Are Bringing in the Future with AI and AR

Posted on 12 November 2023

If the Download 2024 line-up drama which has left rock and metal boomers crying because they won’t see Metallica or Iron Maiden headlining again has taught us anything, it is that rock fans aren’t too partial to change. But that hasn’t gotten in the way of two of the biggest legacy bands bringing in the future by embracing modernity with rapidly evolving AI and AR technology.

If you have been on any social media platform this week, you are probably already aware of the controversy, condemnation and clamouring praise falling around the AI-assisted new release from The Beatles, but The Rolling Stones using Augmented Reality (AR) might have slipped you by. On this page, we’ll cover all that and more to prove that the existential threat of AI may be ever-looming, but for now, it is helping to facilitate creativity and bring bigger and more immersive experiences to fans.

How AI Brought Back the Beatles

With a superlatively unbeatable track record of number 1 hits and a legacy of being one of the most influential bands in history, it would be nothing short of a miracle if any contemporary artist or band beat the Beatles in that regard in today’s music industry. Especially as the mainstream has divided into endless streams of creativity music fans can use to float their sonic boats.

That didn’t stop some from bemoaning The Beatles for using AI to polish a demo which was recorded 45 years ago. One writer for the digital rag, UnHerd, even went as far as to say that the release of ‘Now and Then is a sign of our cultural doom loop’. Josiah Gogarty attempted to be damning in his exposition of the captivatingly haunting single and only succeeded in making it seem infinitely more appealing by describing it as “less a song than a séance, calling forth the warbling and jangling of the dead”.

Was it lost on Gogarty that AI did little more than clean up Lennon’s vocals from a rough demo by separating the background noise? There was nothing artificial about the distinctive rock n roll soul that rang through the release. In fact, it reaffirmed why the world fell head over psychedelic heels for the Beatles when they shot to fame in the early ’60s. Furthermore, McCartney has already confirmed Now and Then will be the final Beatles song; I think we can let the Beatles have one final chart-topper for all they’ve done for the music industry. Even if you aren’t overly fond of their music, which I can’t claim I am, the Beatles still paved the way for and gave inspiration to everyone from Nirvana to My Bloody Valentine to The Smashing Pumpkins to Bowie to Radiohead to Oasis.

The Digitalisation of the Rolling Stones

Seeing the Rolling Stones in a stadium or an arena may take a massive chunk out of your pay packet with most of their standard ticket prices falling above the £100 mark. Thanks to Augmented Reality, their loyal fans can bring them into their living room for a fraction of the cost, all thanks to Snapchat’s AR Studio. Which has been pulling out all the stops for the promotion of the band’s new LP, Hackney Diamonds. How much of a success it will be is yet to be seen. I can’t imagine there is much cross-over on the Rolling Stones fans and Snapchat users’ Venn diagram. Regardless, it is a great opportunity for Stones fans across the globe to be part of this seminal event.

The band’s creative team has worked closely with Snapchat’s AR studio in Paris to unlock an AR experience which will project 3D bitmoji avatars of the band. If you feel inclined, you can get up and dance next to them or ‘snap up’ some digital band tees, because what would a gig be without merch?

This new marketing venture won’t be everyone’s cup of tea, and if it isn’t to your taste, that’s fine – they’re hitting the road in 2024, you can catch them then. But don’t let your technological cynicism get in the way of celebrating this landmark move which can allow Stones fans who won’t be able to attend a show in person.

The Dandy Warhols are Psyched Over the Potential of AI

The Dandy Warhols, a band with a rich history in the psychedelic rock scene, expressed excitement about the potential of AI in the realm of art and music in a recent interview with the Dallas Observer. This enthusiasm stems from their long-standing practice of incorporating various tools into their creative process, viewing each technological advancement as a new instrument to enhance their work.

Courtney Taylor-Taylor, the band’s singer-songwriter, likens AI to any other tool that has been invented, suggesting that it should be used to create great work. The band’s latest single, “Summer of Hate,” showcases this embrace of technology with its AI-generated music video, demonstrating the band’s willingness to experiment with new methods of expression.

Despite some concerns about the effects of AI on the recognition of artists’ contributions, The Dandy Warhols remain hopeful about the opportunities AI presents for independent artists to innovate and push the boundaries of their art.

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To keep up to date with future evolutions of the music landscape, keep following our blog. For advice on how to keep pace with the music industry in 2024, contact our consultancy team, which can show you the cutting-edge ropes you should be using to keep pushing your career forward.

Article by Amelia Vandergast

Lost Foxes opened the mundanity trap in their installation of indie pop nostalgia, Petrichor

Posted on 7 October 2023

Lost Foxes elevated South Carolina’s indie scene with their poetically plaintive latest single, Petrichor. Hearing it, you’d be forgiven for thinking the past two decades have been erased by the echoes of the early 00s in the melodies that haven’t lost their ability to wrap a noose-like grip around the rhythmic pulses and pluck the heartstrings in time with the angular guitar notes.

The intimate lo-fi touches to the chamber string-accentuated release make it effortless to lock into the resonance that is strewn across the verses which reminisces on darkly mundane days as the instrumental effervescence lets the sun shine through the salvation of escapism.

The four-piece has come an illustriously long way since their early days of playing with loops on Logic Pro and singing about beans in 2020. Following the inspiration of Twenty One Pilots, AJR and COIN, they got to work on their debut album, Welcome to Kiff, which debuted in 2022 to tell the tale of three protagonists escaping totalitarianism. Petrichor is the latest chapter in the outfit’s legacy, and it is one you’re going to want to read time and time again.

Petrichor was officially released on September 29: Stream it on Spotify.

Review by Amelia Vandergast

Behind the Music: Unraveling the Fascinating Tale of Sketches of Carol

Posted on 3 October 2023

Step into a world where music and storytelling intertwine, where ‘Sketches of Carol’ stands as a magnetic project with a name that’s more than meets the eye. In this intriguing conversation, we’re about to uncover the origins of this enigmatic title and the deep-rooted inspirations that fuel it. ‘Sketches of Carol’ invites us on a thrilling adventure across the cinematic realms of love and sci-fi, weaving a musical narrative that defies the boundaries of time and space. So, come along as we unravel the cosmic connections, embrace the cultural tapestry, and witness the collaborative enchantment that brings ‘Messengers’ to life—a promising start to a visionary musical journey

‘Sketches of Carol’ is an interesting name. Can you explain the thinking behind it?

The name Carol stuck with me after I watched a hauntingly beautiful film of the same title featuring Cate Blanchett and Rooney Mara in the leading roles. It portrays a love story between two women and the struggles they face in 1950s America. This inspired a remote collaboration with pianist, composer and producer Maria Chiara Argirò where we kept exchanging sketches of music that the other person would develop and transform. Both, the relationship of the characters in the film who are so supportive and loving with each other in the face of great suppression and the relationships I share with a group of super talented giving women in my UK artist network have inspired me to adopt this name for my project. Carol became a symbol of womxn support networks and sisterhood, of womxn and men who elevate each other knowing that we as a society can achieve so much more and live more fulfilled lives when we stand together.

The EP ‘Messengers’ draws from your affinity for science fiction and pays tribute to iconic films like ‘Blade Runner’ and Star Wars. How did you infuse these cinematic influences into the music?

My Dad is a big sci-fi fan, so I grew up spellbound by the stunning sound worlds and effects of those cinematic masterpieces. Think of that distinct melody that is used in ‘Close encounters of the third kind’ to communicate with a foreign species or the epic electronic soundscape Vangelis created for the opening of Bladerunner (1984). I wanted to capture this ‘otherworldly’ sound in Messengers.

Central to the track is a lulling loop of close harmony, which to me evokes the sense of endlessness in both time and space. The soaring melody shared by voice and violin that runs over the top has a searching quality that never repeats or arrives. All of this is bathed in a deep low-frequency noise aimed to subtly create the sense of a large space, vast and incomprehensible, just like the universe itself.

The theme of interplanetary communication and the Golden Record’s portrayal of Earth’s diversity are central to ‘Messengers’. How did you translate this concept into musical elements that convey a sense of connection and cultural richness?

Yes indeed – NASA’s Golden Record was sent into space on their Voyager spacecrafts in 1977. The record holds a selection of natural sounds (including some made by animals), music from various cultures and eras, human sounds like footsteps and laughter, and spoken greetings in 59 languages.

I was totally fascinated by this – how amazing it is to have a record floating around space which exists to introduce both planet Earth and humans to any spacefarers passing by. I started imagining my own small capsules of ‘natural life on earth’ – like fast-skipping through a load of documentary channels. It was such a rich source of material, I ended up writing the entire lyrics to Messengers in one complete flow.

The diversity across the spoken greetings, that the golden record transports, was my second point of interest. Despite all carrying the same sentiment of greeting a stranger for the first time, there was such a colourful variety of expression. It is a fantastic reflection of the luscious tapestry of human culture.

Could you share a particular moment during the creation of this EP when your improvisation led to a surprising and impactful musical direction?

I have been a vocal improviser for many years and the excitement of constantly reaching into the unexpected and shaping it as one goes along, is pure joy to me. In the EP, both the lead melody of Messengers and the ‘space trumpet’ effect that I created using my voice for the intro and outro, were improvised in single takes. There was no editing or rewriting. So, I would not exactly say that improvisation led to a surprising direction, but rather, that it is my default way of creating.

Collaboration seems integral to the EP’s success, with Gonçalo Abrantes’ production and William Newell’s layered strings. How did these collaborations contribute to refining your vision for ‘Messengers’.

The value and pursuit of connection is at the heart of all my performances, writing and projects. I cherish working with other artists, trying to understand their process, aesthetic desires and the language in which they express themselves. Will and Gonçalo both have a beautiful artistic sensibility. I chose to work with them because they have the ability to truly listen and distil what a piece needs to be elevated. Will does so masterfully in his work with Solem Quartet and Ensemble 26, and having worked closely with him in the minimalist trio White Flower, I did not feel the need to give more instruction than to trace my solo. I let him improvise the further parts, and boy did he put the cherry on the cake.

Working with Gonçalo was slightly more directed since his role as mixing engineer and producer was to breathe life into my space travel vision. A sci fi appreciator himself, he knew exactly what I meant by ‘that noise that you hear when the spaceship moves in above you in Star Wars, where you hear it before you see it’. But jokes aside, Gonçalo is a brilliant producer who has helped shape my ideas in a very distinct yet non intrusive way. We have already finished a second work that will be released in 2024. I very much look forward to continuing our collaboration. Btw, Gon is a wonderful songwriter and singer himself. Do check out his releases under the artist name Agon Branza.

As the first of four planned releases, how does ‘Messengers’ set the stage for the upcoming releases in the ‘Sketches of Carol’ project? What can listeners expect in the future releases?

For now, I have three more releases to come. Continuing with the theme of collaboration, each release features one instrument to accompany my a capella vocals.

There will be guest appearances of cellist Steph Tress, (also Solem Quartet), pianist and producer Maria Chiara Argirò (These New Puritans) and drummer Gaspar Sena (Valia Calda).

In terms of style, you can expect quite a variety across the upcoming releases – from the vocals and production elements. In points of theme, there is a piece on migration, one about communal grief and of course, there’ll be ‘Carol’, the piece that started off the whole project. I’m very excited to share all this with you!

Your upbringing in the Silesia region has left a significant mark on your creative journey. Could you share a specific memory or influence from your childhood that you’ve translated into your music?

Absolutely – I was born and raised in the three-country corner of Saxony, where East German, Czech and Polish traditions meet to form what is a very distinctive heritage of Lower Silesia. On top of that, I’m a GDR kid and while I was only 6 when the wall fell, the influences of russian and slavic aesthetics in film, music and local culture ran strong. For example, I grew up captivated by German and Russian fairy tales and I loved exploring folkloristic traditions, like the spring fires that are supposed to clear out winter and make way for spring. In my teens, it became an annual tradition in my family to visit mediaeval markets in self-made costumes and to pay our way at the food stalls by singing old ballads and folk tunes. All of this sparked imagination and playful creativity in me.

I also really loved singing from an early age and took any opportunity to use my voice – whether belting out 90s power ballads or singing German folk songs with my mom, sister and grandma.

In terms of artists I grew up listening to, my dad’s record collection (which he proudly played on his AWAY hifi system) had a real impact on me. I listened to a ton of amazing Stevie Wonder, Prince and Quincy Jones records, Pink Floyd, Peter Gabriel and Tower of Power as well as early electronic music like Yellow and Art of Noise. My mom loved great singer-songwriters like Carly Simon, Fleetwood Mac and Rio Raiser, and through my grandpa who sang in church choir and played a bit of organ I got introduced to choral and classical music like Händel and Bach.

Head over to https://www.sketchesofcarol.com to learn more!

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