Jeff Buckley Bio (Uni obituary assignment!)

IKO

24 hour recording sessions and executive handshakes have been the story of the year for Exeter band ‘IKO’, and in 2010 we look forward to an album release and a return to prominence.

          Things have really taken off for the Devon-based group in 2009, the completion of their 2^nd studio album, a return to live shows and most incredibly having a song featured on hit US television series “Flash Forward”.

           IKO’s previous incarnation, the critically acclaimed ‘Buffseeds’ experienced a certain degree of success in their tenure, but their move into the IKO era in 2004 has seen an evolution and increased maturity in their sound.

          All members, Kieran Scragg, Rob Maxwell, Neil Reed and John Barwood hail from the Exeter area and have graced the local music scene in various different groups.  However, their location hasn’t hampered the growth of the group’s popularity, which stretches far beyond the British Isles.

           Their debut album ‘I Am Zero’ is full of charm, romance and songs that are easily related to by their audience. Stylistically similar to artists such as ‘Coldplay’ and ‘Sigur Ros’, IKO separates itself from the pack with the spine-tingling vocals of front-man Scragg, once described as having ‘the most unique voice in the British music scene’.  Stand out track ‘Hologram’, an ode to the victims of the September 11^th tragedy, attracted well-deserved attention stateside, and has gone a long way to broadening the band’s fan-base.  The forthcoming album, ‘Ludo Says Hi’ was recorded at the much-revered ‘Real World Studios’ with the help of well respected producer Sean Genockey. It shows more edge and highlights the dynamic of the band. This is a record with more attitude and panache, with tracks such as the passionate ‘Animal’, and the anthemic ‘This Room Needs a Priest’,  clearly demonstrate  the band’s talents.

         No strangers to success, the band earned their initial recognition through American television shows such as ‘One Tree Hill’ and ‘Grey’s Anatomy’, so the inclusion of the love ballad ‘Look what you’ve done to me’ on “Flash Forward” would not have come as much of a surprise to their adoring fans.

          2009 saw a strong foundation for the band form, but 2010 is sure to show IKO in an all-together more prominent light.

Miike Snow

             Strikingly reminiscent of other Scandinavian bands on the circuit, stylistically, ‘Miike Snow’ make no excuses about similarities between themselves and the likes of “Sigur ros” and  “The Perishers”. However, unlike their predecessors, “Miike Snow”, with their self-titled album offer more to a modern audience, fusing their harmonies and captivating melodies with electronic undertones. This is enough to keep any fans of easy listening music onside, whilst not being out of place in a nightclub.

            Probably best known for the song ‘Black and Blue’ after featuring on a recent Sony television advert, the Swedish trio have put together an album of very well structured songs, all of which demonstrate their creativity with synth tracks and samples blending with their epic reverb-ridden vocals.

            The ballads ‘Sans Soleil’ and ‘Burial’ are very representative of the bands diversity; these songs are defined by the sweeping vocal harmonies and heart-felt lyrics rather than use of musical technology, and are evocative of feelings of nostalgia and self-reflection. Both of these songs have a certain captivating flow that gives the impression that the song ends well premature of four and a half minutes. This entrancing appeal would please even the most mainstream of music fans.

           ‘Sylvia’ certainly shows a more sensitive side to the song-writing abilities of the band. Musically building into somewhat of a crescendo, the subtle melodies are well complimented by the increased instrumentation throughout the song, not dissimilar to some of the commercially successful efforts of the likes of ‘Empire of the Sun’ and ‘La Roux’.

         The first half of the album is beautifully put together with the promise of even more in the second half that unfortunately grows weary and falls disappointingly short of expectations. The songs are still well structured and may have worked with a more well thought out track listing. But songs such as ‘A Horse is Not a Home’ and ‘Cult Logic’ seem to fall limply into repetition. I just seemed to get the impression I was sold a bit short, as the start of the album promised so much, yet the record never seems to come full circle and demonstrate the full range of diverse styles and abilities I am sure they are capable of putting forward. ‘Plastic Jungle’ does show signs of a late revival, but once again I start to think I have heard the song a million times before and grow disinterested quickly.

       I can see why Sony chose to use a ‘Miike Snow’ track to help their advertising campaign. Initially, I found them captivating, but gradually I grew bored of their sound. ‘Miike Snow’ has songs that’s are ideal as 30 second soundtracks, but provide too little to keep my attention for 11 consecutive tracks. I’m sure they will experience more success in the future, as they produce well-written individual tracks; I just felt that they failed to mesh into one body in the form of an album.

           I want to make it clear, I am in no way criticizing the group’s abilities as musicians or songwriters, but perhaps more attention to piecing together an album would be beneficial. A craft that I’m sure will be sharpened by experience.

A Decade to Forget

       Doing most of my musical exploration during the last decade, I may look back on the “Noughties” with rose tinted spectacles. If this should ever happen I hope someone will redirect me to this

Best Selling singles of the last 10 years:

1.     Evergreen – By Will Young

2.     Unchained Melody – By Gareth Gates

3.     It Wasn’t Me – By Shaggy

4.     Is This the Way to Amarillo? – By Tony Christie / Peter Kay

5.     Do They Know it’s Christmas? – Band Aid 20

6.     Pure and Simple – Hear’Say

7.     That’s My Goal – Shayne Ward

8.     Can’t Get You Out of My Head – By Kylie Minogue

9.     Can We Fix it? – Bob the Builder

10. Whole Again – Atomic Kitten

An embarrassing mixture of reality tv driven songs, charity singles and novelty jingles. Hopefully, the successful anti-establishment campaign that saw ‘Rage Against the Machine’ reach Christmas number one will signal a more musically rich decade to come; here’s hoping…

No Shows are No Pros

Peter Doherty, a free spirit? Enigma? A throwback to rebellious rock stars of years gone by? All of these he may be, but after another ‘no show’ at the “Joiners” live music venue in Southampton questions about professionalism and dedication to such a fickle business must be raised! For a few years now, journalists and theorists alike have tussled backwards and forwards in regard to educational courses in ‘how to be a rock star’ arguing that such traits cannot be taught. You can’t take Joe Bloggs off the street, cast him into a ‘Popular music’ scheme and expect him to come out as the next Elvis Presley. However these courses can be beneficial to the next generation of budding musical superstars.

       Southampton Solent University offers the chance to study “Popular music Performance”, a course that has exploded in higher education across the country. I spoke to the head of the course, Peter Wilson to find out how it both encourages the creativity needed to be successful in the industry, while striking a balance with teaching history, context and professionalism. An accomplished musician in his own right, Wilson acknowledges the importance of musicianship first off. He said, “…anyone can strum an E chord, but we encourage the creativity that takes a good musician and turns them into a professional musician”. He described how the course’s participants should aim to be ‘polished professionals’ by the time they graduate, yet stressed the importance of the theoretical side.

         “…Without context, it is very easy to get lost in such a vast and harsh industry. Artists in the past have lost their way, and have taken the opportunities they have for granted”. He highlighted the importance of hard work and punctuality in an academic and a habitual sense. “…If one has the drive to study a course for three years and turn up on time day in and day out, it becomes habit, they get the most out of what they put in, and as it is true in most walks of life, those who work hard reap the rewards!”

         The University of Westminster has seen great success from their Commercial music performance course with acts like ‘The Feeling’ and ‘Paper Heroes’. Matt Weedon, Paper Heroes’ lead singer has reaped the rewards from the course, having a song featured on Channel 4’s ‘Skins’. “…The course taught me so much about the industry and introduced me to like minded, ambitious young musicians.’

         No one is saying you can create a pop star from dust, or that you should mould musicians and strip away their creativity. Courses like theses are designed to encourage creativity, but a strict set of ground rules and guidelines to ensure their talent isn’t wasted. A bit of professionalism, charm, wit and good manners can still go a long way towards success; maybe some of today’s ‘stars’ could do with getting back in the classroom, instead of leaving an empty stage that could be filled with someone who appreciates it. 

Mumford and Sons - Sigh No More

        

         This debut album from London based band ‘Mumford and Sons’ is timely reminder of just what the British music industry is missing. Their rapid rise to fame comes as no surprise when listening to tracks such as ‘Dustbowl Dance, and ‘White Blank Page’. These tracks appeal to the most traditional folk music fans, whilst the raw passion of songs like ‘Little Lion Man’ can be related to by mainstream audiences. Social and personal issues are addressed within the body of beautifully crafted guitar and banjo tracks, that strikes the balance between folk and pop perfectly.

       ‘The Cave’ is the strongest effort on the album, with hints of ‘Simon and Garfunkal’ and ‘Tim Buckley’ mix with traditional Irish Folk, with a hint of London attitude to produce an unlikely but potent recipe for popular music. The song takes you on a journey you hope wont end, culminating in a crescendo of instrumentation and vocals filled with hope righteousness.

        The album as a whole is brilliantly crafted with most tastes catered for, and a whole range of emotions explored. There isn’t one track that I consider skipping. ‘Sigh No More’ is most definitely an album to listen to from start to end, probably the most musically cultured pop record to come out of 2009.