Originally published at Phaser Magazine
*Disclaimer* This interview was conducted before the Covid-19 crisis.
The Shires, comprising Ben Earle and Crissie Rhodes, are the UK’s biggest selling Country act of all time, combining heart-warming harmonies with soulful storytelling. I sat down to chat with them about their brand new album, their tour, and bringing the Nashville sunshine back to the UK’s grey skies.
Ben and Crissie, thank you for taking the time out to talk today! You recently dropped the single 'Independence Day', which is an empowering break-up anthem, and the previous single 'Lightning Strikes' is also about an ex, but it’s full of energy and excitement at the possibility of rekindling a lost spark. It would’ve been easy to make both of these sad songs. What made you want to turn them on their head, and make them sound more celebratory?
Ben: That’s a really good question! It wasn’t a conscious thing, it’s kind of from seeing someone who’s going though a break-up and saying, ‘I know you’ll come through the other side, and I can already see you’re happier than you were before’. I think we’re quite happy people generally, and at live shows you can only get away with a handful of really sad songs. My opinion about music, as well as the media, is that I want to be uplifted. It’s also harder to write a song that picks you up.
In what ways did you want it to carry on the bright, buoyant nature of Accidentally On Purpose, and in what ways did you want your new album, Good Years, to be different?
Crissie: For the first three albums, we were so relentlessly in a constant ‘go-go-go!’ kind of mode. We were always here, there and everywhere, and it was hard to grab a moment and appreciate everything we’d done. We actually left our record label that we’d been with for the first three albums, and sat in limbo for a little moment without a label, before signing with CMG. We had a bit of time away from the craziness, and we got to spend time with family and friends, and get some normality in our lives. The songs are generally quite reflective, showing how we’ve been feeling appreciative of where we are in our working lives and home lives.
Accidentally On Purpose contained a lot of crossovers into new genres and sounds. Is this experimentation something we can expect more of on Good Years?
C: It wasn’t a conscious effort at the time. We were partying quite a lot in Nashville, and that was reflected in the songs we were writing for Accidentally On Purpose. We were influenced by the music scene there, and we were still trying to break America, so we thought going on the poppier side would cross us over. And it helped with the live performances, because the songs have so much energy and fun.
B: I think we go back to our roots on Good Years. The irony with this is that in not trying to target the US as much, we now have more support there than ever! It’s funny how that wasn’t even really part of the plan, the aim was just to record the songs the way we wanted them.
There’s generally been a lot of genre-blurring involving Country over the past few years. How do you tread the line between pleasing the die-hard Country fans, and also infusing this with Pop and Dance impulses? Do you ever feel restricted in a sense by the ‘Country’ label?
B: Trying to please everyone is the hardest thing. You just don’t need to, there are always going to be people that say ‘It’s not Country enough’, or ’It’s not Pop enough’, and so on.
C: As long as you can release something you’re proud of and 100% happy with, that’s the main thing. It’s always going to be open to opinions - I remember having a chat with a fan when we’d just released Accidentally On Purpose, and he mentioned about us going Pop, and he wasn’t pleased. But sometimes you have to broaden the genre to give other people a taste as to what Country is all about.
B: Crissie’s right that at that time, we loved that record, but Good Years is definitely us now.
You’re about to embark on another huge UK tour. Do you prefer the writing and recording process of the album, or is it more fun finally getting to showcase the new material live?
B: I think the live show is kind of the pay-off, the celebration at the end of the whole journey. When you’re sat in a room in Nashville or in the UK, you just have an idea for a song, and then you go into a room with your notes and it becomes something tangible. I personally love that, and if I could do just one thing for the rest of my life, I would do that. You get that moment of ‘Wow, I love that song'. At the same time, you’re trying to make something that’s perfect, so it is quite intense. You’ll do a thousand vocal takes, and you go a bit neurotic - it’s exciting and nerve-wracking. So when we finally get to our tour in April-May-June, we’ve gone through the process, and you can tell which songs really connect with people. For me, that’s the most enjoyable part, but it’s not the part I’d do for the rest of my life. Having said that, it is great to connect with people in a moment, live, and that’s why live music is so popular still.
I was lucky enough to see you both perform in Oxford for your Accidentally On Purpose tour. Are you excited to be back this year?
C: Yeah, we’re very excited! We’re putting it all together at the moment, sorting out the staging, etc. It’s hard to pick the setlist - we’re trying to make it work as best as we can, because we don’t really want to drop any songs!
B: Yeah, last time in Oxford we went to a quirky, underground bar, and we had a good party there after the show. The New Theatre is brilliant as well - I love how old-school it is.
You’ve introduced a whole new generation in the UK to Country music. Do you think the genre will continue to grow in the UK over the next decade?
B: Culturally, I’d like to think we’re post-cool. It used to be that you have your record collection and people would come and judge it - ‘Oh…you listen to the spice girls?!’ Now it’s more personal, because it’s just on your computer or phone. Country music really reminds me of the Noughties, the sounds and the things they’re singing about. Like if I wanted to talk about getting high with my friends, that would be too risqué and they’d be like ‘You can’t say that!’. Compared to the Hip-Hop world, it’s very innocent. Also with streaming, even more of an audience can come on-board. I think it will get bigger and bigger.
C: Absolutely! I think it’s still in its early days, but more and more people are enjoying the genre. More people are proud to say they love Country music. It’s funny we’re still trying to promote it, because we’ve been surrounded by it for seven solid years, and it’s crazy to think people don’t know about it yet.
For you both personally, what’s your favourite song on the new record?
B: Mine is between ‘On the Day I Die’ and ‘Crazy Days’. As a writer, I was always chasing ‘I Just Wanna Love You’ [from debut album, Brave], I remember writing that song really quickly by myself. It was just so honest and pretty much just a conversation. As much as I love writing in Nashville, sometimes there’s a lot of pressure to do something clever. That’s the Nashville way, and they’re geniuses at it, finding an idea or lyric and turning it on its head. Some of the biggest songs, though, are just straight up. ‘Crazy Days’ was me at home in my shed, with a piano, and I wanted to sing to my wife about how it’s hard because we’re away a lot, but it’ll be worth it. It’s a very honest and real song.
C: I remember hearing that for the first time, and it was everything Ben had always sung about. That's him at his finest, and I was a big fan of that from the get-go. He would just talk about that situation, and he means every word. I can draw from that, that it is crazy, but it’s a great reference song to bring you back down to reality. Also, I love the sentiment behind ‘On the Day I Die’, where you’ve lived the best life you can, and it’s all about appreciating every day. It was a real pleasure to sing.
Artists will often be going through something, and they pen lyrics that can really help the listeners who are going through that same struggle. ‘Naked’ is a perfect example of this, as it’s all about seeing someone for who they really are and accepting their flaws, and trusting them to accept yours. If you could pick just one, which song of yours would you want listeners to pay especially close attention to, that you feel can help people the most?
B: ‘Brave' is that song for me. I think I wrote it seven years ago, and it was a dark time for me to be honest. Similarly to ‘Naked’, I wrote it for myself, just to say you don’t have to be so brave all the time, and it’s okay to to tell people you’re not feeling 100%. That’s an important message. I have two young sisters, and they have their battles stemming from social media. I think it’s easy to put on this front of ‘I’m doing great’, ‘I’m on holiday’, etc. whereas a lot of people are struggling behind that. So I think it’s important that they have someone they can let their guard down to.
You recently performed with 5,000-8,000 children as part of the Young Voices choir project. You’re undoubtedly role models and inspirations for numerous young singers, songwriters, and bands out there. What would be your main piece of advice for anyone trying to break into the music industry?
B: It’s so hard not to fall back on clichés. From personal experience, I tried for so long to write a song to sound like someone.
C: Yeah, I tried to fit moulds, to be someone I didn’t believe 100% to be me.
B: Exactly, but when I found Country, I just made music that I loved. It’s the same with anything you do, as long as you actually love it, then no-one can take that away from you really.
Switching that question around a little, who in Country music is inspiring you right now?
B: Lady Antebellum have been an incredible inspiration for me. Also Nina Nesbitt, and I know she’s not Country, but she co-wrote ‘Naked’. When we first met her, she was without a record deal, and it’s great now seeing her do what she loves, and just be who she is. Suddenly in the last two years she's found great success, just because she’s being herself. We went out with her in Nashville, and I think her songs are so her.
I read somewhere that you both met on Facebook through a mutual friend. Songwriting can be an incredibly personal process, and can involve putting yourself in quite a vulnerable space. How long after you two met were you able to feel comfortable enough to really open up lyrically in this way to one another?
B: We’ve always been honest, and there’s no ego with us. If I throw out a bad idea, Crissie’s open enough to tell me that it’s bad, and vice versa. But it’s a myth that in every songwriting session people sit down and pour their hearts out.
C: When we met it was all work based, we’d sit together and write songs that we thought we should write. We didn’t really pour our hearts out as such, the more sessions we had, the more we realised it’s quite an open space in a writing room, and some things get blurted out, and everyone’s quite open and understanding. In the studio, usually you sit down and chat with the writer, and catch up a little. For the song ‘Accidentally On Purpose’, I was just talking about leaving Nashville the next day, and I was genuinely just telling the guy that I wanted to stay a bit longer, and I was just chatting and telling him what was going on at that point. I did not expect to be writing that song on that day! It’s just kind of amazing that it happened like that.
You’re the UK’s biggest selling Country act of all time. Do you feel more pressure each time you release a new album to live up to this reputation, or does it give you an added boost?
B: I definitely feel more pressure every time. I turned my shed into a writing room, and I asked the decorators to put my gold discs as far away as possible from me! It’s funny, I’d say to our manager, ‘Once we’ve sold this many records, I’ll feel comfortable and relaxed’, and he just said, ‘You’ll never feel relaxed!’ The goalposts change. We both want to be the very best we can be, and the other stuff that comes with it, that’s not as important. You can’t forget it’s the music that drives everything.
C: When we write the songs and record, I’m a pretty go-with-the-flow person, I never focus on the business stuff. I’m just enjoying the process. When the album’s ready, and it comes to realising there’s so many people involved, and so many things to do, that’s the only time when I feel pressure about it. We’ve done our bit recording the songs we love, and everything we put into it is everything we could do at that time. It’s the business stuff that always adds the pressure - you don’t think about that when writing and recording. There’s also always pressure in putting the tour together, but when you’re on stage you don’t have to think about anything else, it’s just about getting up there and just being in that moment.
The Shires’ new album, Good Years, is out now on all platforms.
US Country superstar Chase Rice follows through on his promise to drop the second instalment of his The Album series as soon as possible. For all the negative aspects of lockdown and quarantine, it has been great to see artists flooding this period with a flurry of new releases to help keep fans’ spirits up.
The Album Pt. II gives listeners another glimpse into the eclectic mix of genres that Chase welds together. ‘You’ kicks off the EP with an EDM/Pop-Rock tinged anthem, with a seismic hook reminiscent of Bastille or Imagine Dragons. A twinkling, teasing piano sets up the song, before Chase launches into the verses with his trademark charismatic drawl. The female backing vocals add another level of intensity to the song, and one can’t help but think a duet would certainly be an interesting avenue for Chase to go down in future.
On the face of it, ‘Break. Up. Drunk.’ should be a sad song, with Chase lamenting the pain of a break-up, and suggesting they turn to alcohol to soften the blow. But somehow he transforms it into an uptempo drinking song, and provides an 11th hour afterglow of warmth before the couple splits up for good.
Then comes ‘Down Home Runs Deep’, a more reflective ode to how you can take the ‘good ole’ boy’ out of the country, but you can never take the country out of the ‘good ole’ boy’. Chase knocks the hook for another home run and keeps the momentum going, altering his cadence to step up the energy just when you thought it had already hit its peak.
So far, it’s been rip-roaring and ferocious from the moment the opening bass hits on ‘You’. But while the EP has been jam-packed with huge hooks and electrifying production, we’re yet to see Chase the songwriter in full effect. With only one song remaining on the EP, is there room for him to strip it back and deliver another ‘Lonely If You Are’ or ‘Messy’ style ballad?
The answer comes resoundingly in the form of The Album Pt. II’s closer - ‘Belong’. For me, this is the real jewel in the crown, and is perfect for a world that has been put on pause. There’s no question that Chase can bring the party-starters and the anthems, but ‘Belong’ shows an incredible emotional depth, and showcases a side to the Country hitmaker that we have so far only seen in doses.
He questions modern-day issues such as cancel culture, and the charge that is often thrown at younger generations of being glued to their phones. He responds with the tongue-in-cheek observation that our phones take voice notes, and that’s how he writes his songs.
Chase repeats the chorus almost as a mantra - “We’re right where we belong” - and while the song seems to have been written pre-COVID-19, it is undoubtedly poignant for these times of anxiety and uncertainty about what the future holds. The destiny-fuelled theme of ‘Belong’ sends out a message of reassurance and hope (“Where we’re going, we don’t know/But we’re going there together”).
For anyone disappointed by the fact that there are only four songs on The Album Pt. II, compared to the seven that made the cut for the first instalment, Chase explained in my interview with him a few months ago why he wanted to keep his projects short:
“I feel like giving less music more often gives the songs more of an opportunity to have the life they deserve. If you drop fifteen at one time, you just choose three or four to listen to and never hear the rest…I’m not just releasing a single or two with five fillers, either - I wanted every song to be worthy of a single. That’s a big focus for me for The Album Pt. II”
In an era of streaming where we have everything at our fingertips, it’s good to be reminded that what really matters is quality, not quantity. Chase Rice’s The Album Pt. II might be short, but don’t let that fool you - it sure packs a punch.
The Album Pt. II is out on all platforms tomorrow, Friday 15th May.
UK singer-songwriter Kelsey Bovey shows why she’s one to watch on her new single, ‘Magnetic’, which officially drops on Friday 22nd May.
While modern music might be moving away from typical song structures, there’s one thing that will surely never become ‘old-fashioned’ - and that's having a killer hook. Boy, does ‘Magnetic’ have one.
It wriggles itself into your head, and part of its appeal is the meaning Bovey puts into each lyric (“The way you’re talking to my soul it’s magnetic”). She delivers it with an intensity that seems both euphoric and pleading at the same time, and that’s part of what makes this song great. It’s a jubilant love song, but there’s an undertone of hesitancy (“I’ve been broken in pieces/There’s a hole can you heal it”).
Bovey manages to bring in a level of intimate vulnerability, without sacrificing any of the song’s overwhelming joyfulness, a balance that isn’t easy to strike.
Listening to Bovey’s 2019 It’s My Time EP makes it clear that she wants to draw her listeners’ attention to the silver linings rather than the black clouds, something that is especially evident on ‘Positivity’. ‘Define Me’ wraps a striking melody around another set of empowering lyrics, and what better time to be driving home this message of optimism?
It can sometimes feel lazy to liken an up-and-coming, female Country-Pop artist to Kelsea Ballerini (especially given the similarity here in first names). But over the years Ballerini has cultivated a cross-genre style without losing any of her originality, something that’s especially evident on her recent album, the dance-heavy ‘Kelsea’.
Bovey shows signs that her sound is set to be just as open-minded and diverse, favouring powerful, energetic soundscapes over slower, guitar-driven tracks. ‘Magnetic’ features slick, lustrous production from Andrea Succi and Danny McMahon, the latter of whom was crowned Country Artist of the Year at 2019’s UK Country Music Awards.
Speaking about the new song, Bovey says:
“Magnetic is a spontaneous love song that I feel everyone has experienced once in their life, when you share the reasons behind your feelings for that someone special. This came from a place of uncertainty, when you start a relationship and you find the person that is right for you, but you're scared of falling in too deep because you’ve been hurt before”
‘Magnetic’ is heartfelt, captivating and, most importantly of all, uplifting. Watch this space, Nashville - there’s a new 'Kelsey' on the block…
'Magnetic' is released on Friday 22nd May.
this article was originally published at phaser.com
Posthumous albums are always a tricky business. It is so difficult to get the sentiment right, to make sure the intentions are clearly to honour the artist, and not just to achieve material gain. There is even a question as to whether this music should be released at all.
It is clear from reading interviews with the likes of Vargas & Lagola, Aloe Blacc, and Carl Falk, all of whom worked together to complete Avicii’s TIM, just how much they cared about their late Swedish superstar and friend. Songs from TIM are difficult to listen to now, they say, and the nature of the songs on the new album make it evident why this is so.
It would be easy to read TIM as heavily foreshadowing the DJ’s passing. It is pervaded by darkness, with the first track, ‘Peace of Mind’, opening with the lyrics,
Bad Reputation tells the tragic story of someone hiding their depression (“I don't want to be seen in this shape I'm in/I don't want you to see how depressed I've been”), while ‘SOS’ pleads for a lover to come save them from their insomnia (“I get robbed of all my sleep/As my thoughts begin to bleed”).
Having said this, it’s strange reading through the lyrics of TIM, because on the basis of them alone it’s hard to view the album as anything but a suicide note from Avicii. However, listening to the album is an entirely different experience. The melodies are often tinged with sadness, and Carl Falk explains that Avicii would combine major and minor chords in the same line, the latter giving the songs a feeling of wistfulness. But there is an energy about each track, a sense that Avicii hadn’t lost his feeling of wonder and inspiration that shines through so prominently on his Stories hit, ‘The Nights’.
‘Never Leave Me’ is a boisterous, euphoric ode to a loved one, continuing the theme from SOS with the lyrics,
She knows how I’m feeling,
'Heaven’, his collaboration with Chris Martin, is undoubtedly the standout track, and one that fans have been waiting for since it was teased in 2014. It is overwhelmingly uplifting and positive, and initially it seems a little odd that it is positioned as the second track on TIM, as it could have provided a concluding note of happiness as the album closer. But then you remember the most tragic aspect of this album - it’s a tribute to a story that didn’t end happily.
The track that was chosen to finish TIM, ‘Fades Away’, epitomises how perfectly the sentiment of the album was judged. It references the ‘troubled times’ and the ‘trials to find somewhere we belong’ that have coloured the preceding eleven songs, but ends on a note of optimism,
All I know is that with you I’m moving on
This album carries such an emotional weight with it, that it was always going to be tough to find the balance between tones of positivity and regret. TIM finds this middle ground in a way that few other posthumous albums succeed in doing, and in my view, this is Avicii’s best work to date. His collaborators spoke with sadness about how it felt like he was on the brink of something massive musically, and how he would never get to execute this vision. TIM is as close as we can get to the perfect tribute, and the perfect reminder of how influential and talented Avicii was.
I think it is easy to underestimate the impact Avicii has had on music, and people, around the world. The testimonial message board on his website is evidence of this, with tributes being posted from a whole range of nationalities - there are few artists whose music has touched so many people. We all remember when ‘Levels’ broke into the charts back in 2011, and essentially set the tempo for a decade that would be dominated by House/Pop fusions from EDM titans such as Calvin Harris, David Guetta, Martin Garrix and The Chainsmokers. Avicii’s crossovers into Folk, Rock and Country music broke down genre walls and introduced many new artists to fans that would not normally be interested in these kinds of music.
On a more personal note, it seems apt that I’m writing this review in the lead-up to Father’s Day. Zac Brown Band is my father and I’s favourite band, and we always have one of their CDs loaded into the car stereo, ready for our road trip sing-a-longs. The paths of our music tastes don’t often meet, but this is a great instance where we can really share our love of music with one another. And the only reason I ever heard about Zac Brown Band, was because they were featured on the Avicii song ‘Broken Arrows’, and I thought hey, why not give them a try.
Equally, I remember playing my dad Avicii’s ‘The Nights’, and he fell in love with the carpe diem spirit of the hook,
He said, one day you’ll leave this world behind,
Before any big event in my life, my dad will still text me the words, ‘Remember, these are the nights!’, just as a reminder to make the most of every moment. It seems a bit trivial to call an EDM song my favourite song, but because of the meaning associated with it, ‘The Nights’ is definitely up there for me.
Avicii has had a much bigger impact on me that I would have ever imagined. While the album is heavily tinged with grief, TIM is also the perfect celebration of Avicii’s talent in creating music that resonates with his listeners. Despite the pained lyrics and the tragic context, TIM has at its heart the message Avicii always tried his best to convey - one of hope.
Get this amazing album on CD or Vinyl below
Originally published at phaser.com
There is a unique quality that only the upper, upper echelon of artists ever have. I’m not talking about the way their melodies are strung together, the way their charisma shines through on the track, or the way their lyrics shake you to your core. Of course, these are qualities that great artists possess. But only a handful of artists reach a point in their career where you don’t listen to see if the album or single is any good. You know it’s going to be good, so you just relax, and enjoy it.
Surprisingly, not many of today’s musical icons seem to possess this quality. Drake, who keeps breaking record after record after record, even ones held by The Beatles, still brings out an album to hesitant ears. ‘Will it be as good as the last one?’, they ask. The same is true of Ariana Grande, Taylor Swift, Post Malone - most of today’s musical heavyweights still turn up with a sense of something to prove.
Ed Sheeran literally has nothing to prove. Every album he’s ever brought out has been a smash hit, and every single he drops is draped with a VIP pass to Number One before anyone’s even listened to it. A significant number of your favourite songs were probably written by him, with his writing credits stretching all the way from The Weeknd to One Direction via Justin Bieber. And what’s more, he seems like the nicest guy to set foot in the music industry.
He recently announced his upcoming No.6 Collaborations Project, following on from the No.5 that he released before he’d even been signed to a label. The two lead singles feature Justin Bieber, Chance the Rapper and PnB Rock, and are - surprise surprise - currently sitting on top of the charts. Like I said, Ed Sheeran is one of those artists you can’t help but sit back and appreciate. He said he had a bucket list of artists he really wanted to work with, so that’s what he’s going to do. And why not? He’s one of the most successful artists of all time, so why not tick off those collaborations he’s been wishing for. What do you have left to strive for when you’re the best? In Ed Sheeran’s book, it’s to simply enjoy yourself.
This album should definitely be regarded as a complete love project, with Ed simply following his heart and working with the people he genuinely wants to work with, and not just names on a list handed to him by his record label. However, while we shouldn’t overanalyse it, it could also end up being one of his most interesting albums yet. The only slight criticism that people can possibly muster against Halifax’s most prized export, is that his music is at times a little derivative. Chance the Rapper and PnB Rock are certainly not features we could ever expect on a ‘standard’ Ed Sheeran album, so maybe this is his way of answering that final question as to how versatile he really is?
To be honest, I really don’t think this has crossed his mind. No.6 looks set to simply be a fun, eclectic journey through a whole host of musical styles and genres, one that is enjoyed just as much by the artist as it is by the listener. Who can we expect on the guest-list? Ed has made no secret of his love for Hip Hop, with the ‘favourite song’ referenced in the go-to wedding track of this generation, ‘Perfect’, being revealed to be Future’s hard-hitting gangster anthem ‘March Madness’. He also worked with Future on Taylor Swift’s ‘End Game’, so an appearance from the Atlanta rapper can perhaps be presumed. Travis Scott is almost certainly on there too, with a collaboration between Scott and Sheeran leaking earlier this year, and judging by the lyrics, seems to be Track 7 on the project, called ‘Antisocial’. There will undoubtedly be some curveballs thrown at us, but all the more reason to look forward to No. 6’s release.
This is a guy at the peak of his powers, nothing to prove, and just enjoying the artistic freedom his success has brought about. Is there any pressure on Ed Sheeran to deliver us another blockbusting, record-breaking smash hit of an album? 100% not.
But are we expecting one? Absolutely.
No. 6 Collaborations Project is out on July 12th, and is available to Pre-Add on all streaming platforms now.
Lyric of the Week - Florida Georgia Line, People Are Different
"Slip on a pair of another man's shoes
You'll see by the time you get back
This old world would be a whole lot better place
If we'd all just embrace the fact
That people are different"
The country duo speak the truth. If anything, it's sad they even have to say it, but in this odd world where we still seem to struggle to accept one another, you can't blame them for re-iterating. A similar theme was covered in my Self Help Songs post on 6lack's Switch - check it out here.
Album Cover of the Week - Dave, Psychodrama
An album cover of a guy with his head set on fire? Yawn, seen it all before. But an album cover of a guy with his head set on blue fire? THAT. IS. AWESOME. For those of you wanting depth, you'd better move swiftly onto Song Title of the Week, because I chose Dave's Psychodrama on the basis of one criterion: it looks pretty darn cool. It's quite sparse and basic, but in a minimalist, artsy, electro-future-fire-mutant kind of way. And I like the colour blue.
Song Title of the Week - Drake, Lust for Life
An homage to the great Van Gogh's biography, this title on Drake's recently re-released So Far Gone mixtape is succinct, meaningful and evocative. The fact that this was the career-defining mixtape, one that dropped as Drake stood on the brink of his destiny to become the biggest rapper in the world, only serves to add to the poignance. Drake eventually got the life he so publicly lusted after - just maybe not the woman (but what was there not to love, Nicki?).
Music Video of the Week -
James Blake- Mile High (feat. Travis Scott and Metro Boomin)
Trippy and, perhaps a little guilty of self-indulgence, but nonetheless it's fun to watch, and matches the mood of the track perfectly. The video starts with Travis Scott's confused face disappearing into a tunnel of blackness as he tries to wake Blake up, before we become immersed in the UK artist's mind, which, spoiler alert, exclusively features himself and Travis Scott swirling around aimlessly. Hey, I'm not judging, 'aimless thoughts' sounds a lot like the inside of my mind. Like I said, the video's a tad over-the-top, but maybe that's what makes it so entertaining.
So these are my Aesthetics of the Week! Feel free to let me know of any good lyrics, titles, covers or videos I may have missed...
Yours sincerely, but not too seriously,
P.S. If you're looking to buy the Aesthetics of the Week:
How to De-Stress #1 - Slow Down
So you’ve heard it a million times. Yes, ok, we get it. The world we live in moves at too fast a pace. But quite frankly, what are we supposed to do about it. I’ve got an essay in for tomorrow, an internship application to sort out and lots of baying blog followers to please with a steady flow of posts. Well, maybe the last one was a bit of an exaggeration, but still, it seems easy to just tell people they’ve got too much going on without providing an actual solution to it.
I feel like this song gets to the crux of the matter in a really simple, convincing way. ‘No Hurry’ is about (spoiler alert) slowing down, and just taking a moment to breathe. Because in this day and age, we do have a million things to think about. Certainly at University, any moment you take off essay reading, or essay writing, or essay checking (pfft, like anyone actually does that), you feel kind of guilty for not spending it on work. But this shouldn’t be how we feel, life isn’t just about work. It’s just as important to stop and chill every once in a while, otherwise the bundle of impending deadlines and doom pile up in your mind until you reach breaking point. Personally, my mind often feels like its moving too fast for me to keep up, so that when I’m sat working on my CV I’m thinking that I should be working on my degree, but when I’m writing an essay I’m thinking I should be working on my CV.
When I’m with you, I’m not afraid to show it all. When I’m with you, I’m not hiding anymore
The Shires, Naked
How to Love #1 - Be Yourself
This song is all about how love involves letting your guard down and just being yourself. The Shires suggest that if you love someone without letting them see who you really are, then that person will be loving someone that isn’t really you, and you’ll be playing a part that eventually you’ll become tired of playing.
I love the metaphor of being physically naked, as it shows how revealing your true personality and all your flaws can be scary, because in your head you’ll be listing all the negative parts of you and you might feel set up for embarrassment. But this is why the line, “I can’t believe that you’re finally letting go/And I’ve been hurt and burnt before” is so important, because it shows how closely intertwined this feeling of being yourself is with trust. It takes trust to let someone in, especially if you’ve been ‘hurt and burnt’ in the past.
I feel like this whole song encapsulates one of the most vital moments in any relationship, when you finally drop the facade you’ve been maintaining to impress the person you’re with, and you just relax. The song’s intro highlights how putting up walls only complicates things and creates a feeling of uncertainty. But if there are no walls, then there is nothing to hide, as everything is out in the open.
Equally, what’s awesome about The Shires is that they can portray the perspectives of both lovers. So we are not only shown the amazing experience of freeing oneself from insecurity in the presence of one’s partner, but also the partner’s fulfilling feeling of being trusted and accepted. The country duo highlight the responsibility in a relationship not to judge, and to not throw this trust back in their partner's face.
Read the full lyrics to Naked here: https://genius.com/The-shires-naked-lyrics
As a philosophy student, I spend most of my time learning about the best ideas we humans have ever had.
One day I'll read about John Stuart Mill's ethic of doing the greatest good for the greatest number, as long as no harm is done in the process. The next I might have to peruse through Aristotle's theory of following a middle path between vice and virtue, in order to be a good person. And maybe then I'll be taught about the Buddhist principle of losing one's self and focussing on love as the only way to be truly happy. But while sitting wide-eyed and amazed by these awesome ideas, something always troubled me.
These principles and theories seem pretty watertight, right? So whenever I read about them, I can't help but wonder to myself, why is the world still full of problems, if these philosophers have offered us so many good solutions to them? Why don't people always act with love as their main motive? Why don't people walk down a middle path between vice and virtue? Why don't people do the greatest good for the greatest number?
Okay, circumstances make it incredibly difficult for a lot of people to do this. But most of these ideas don't require any money or assistance, they start with ourselves.
So why haven't philosophers' ideas spread more widely? When I enquired about this to my teacher, she simply replied, 'Because most people haven't read the books. Sure, they'll hear about the main ideas, but to understand them you have to read the texts. People don't look up to philosophers anymore - they look up to the fickle merry-go-round of popstars and rappers.'
So...what? Is she suggesting that I'm supposed to view Lil Yachty on a par with Plato? If that's the case, then I might as well quit my course now and save myself Â£9,000 a year!â
After a moment of Descartes-style self-doubt, wondering whether my belief in the powers of Philosophy were in jeopardy, I realised that all might not be lost just yet.
Think about it. Artists are the prime champions of free thought and the capacity of ideas, probably even more so than philosophers. At the moment, the charts are full of feel-good, soundbite-philosophies. The past few years have heralded hits called, 'One Man Can Change the World', 'Get Along', 'Donât Be So Hard On Yourself', 'God is a Woman', and at least three called 'Love Yourself'. This is an era where music is trying to inspire us to be better, to be happier and to be ourselves. Yet due to a number of factors, such as the rise of Social Media and Reality TV, people struggle with issues such as self-esteem, mental health and finding a purpose in life, probably now more than ever.
Of course, music isn't going to solve these problems. But the least it can do is help. Whenever review sites (like this one) analyse tracks and albums, we look at what the song means for the artist. We ask, 'What does the artist mean by this?', 'What emotions are they trying to convey?', 'How does this correlate to the recent events in their private life?'
I think these aren't the questions we should be asking. We should instead approach music with the mindset of 'What can I take from this?' Songs often contain incredibly motivational and insightful lyrics, but they get lost in all the focus on the actual artist and how it relates to their life. Well, not only is beauty in the eye of the beholder - meaning is too.
So welcome to a music series with a selfish twist - I'm looking at what songs can teach us about how to be happy, how to love, how to be more appreciative, and many more lessons we can learn from unsuspecting sources. I might call it 'Music Philosophy'. Or maybe 'Self-Help Songs'. Oo, how about 'Headphone Healing'?
Without further ado, my first piece will be on 'How to Be More Decisive'.
Actually, maybe it won't. But then again, maybe it will.
Lyric of the Week - Kenny Chesney, ‘Get Along
He said all your really given is the sunshine and your name
Chesney’s knack for storytelling is once again highlighted, as he recounts a tale of a religious man giving him some rather deep advice. The song is of course all about the mantra of getting on with those around you (spoiler alert in the title), with a very unsubtly cloaked reference to the Christian principle of ‘Love thy neighbour’. While I appreciate the message, it is easy for songs like this to come across as overly preachy and self-righteous. But that is why I love these two lines, because they add a touch of self-deprecating humour, as Chesney recalls the profound teaching that fundamentally all we have is ‘the sunshine and our name’, but then as the singer is pondering this it ironically starts to rain. Key lesson to be learnt? Apparently you do need to take an umbrella on that summer Nashville trip you’ve been planning after all. Seriously though, as you well know, over at Maximoco HQ we hate too much seriousness, but we are suckers for a good, loving message - so that’s why these lyrics were bound to be a hit with us.
Album Art of the Week - Alice in Chains, Rainier Fog
Now, I’m a big fan of bright colours, and I’m not a big fan of rock music. So as I’m staring at this entirely black-and-white, murky album cover from a rock band, part of me wonders what I was thinking choosing this for Album Art of the Week. But for some reason, the image just looks awesome to me - I love the office-style cut-and-paste juxtaposition with the scenes of nature, and the man walking into the ‘eye’ of the storm (quite literally) creates a very ominous vibe. The writing in the bottom left-hand corner adds to the overall mystery, making this look like a poster for an upcoming horror movie, and certainly has a voyage into the unknown feel about it. Just lost out to ‘Performance’ by White Denim.
Title of the Week - ‘you should see me in a crown’, Billie Eilish
Inspired by the famous Moriaty line from BBC’s Sherlock, “In a world of locked rooms, the man with the key is king. And honey, you should see me in a crown.” This song screams confidence compacted into a sassy, pithy punchline. Also poignant because the original quote is about ‘the man’, while Billie switches this to be about herself in an empowering move. And if you’re wondering whether the standard of this blog’s spellchecking is slacking, Billie brands all her song titles without any capitals. Travis Scott did it first. Just saying.
Music Video of the Week - ‘One Day’, Logic ft. Ryan Tedder
To be honest, I started watching this with a sceptical eye. Logic already played the humanitarian card last year with his National Suicide Prevention hit single ‘1-800-273-8255'. ‘One Day’ dropped out of the blue, following a very thuggish Bobby Tarantino mixtape, and handily just in time for the VMAs. Logic performed, of course, and while it was moving it was also in danger of coming across as an attempt to jump on the anti-Trump bandwagon, and using the well-publicised border crisis to fuel another surge up the charts. But whatever your feelings about the actual track, or his VMA’s performance, the music video is undoubtedly poignant and well-constructed. It begins as expected, with a dramatisation of the separation of a family trying to cross into the USA, and then we fast forward to follow the lives of one of the children who has been separated and given a new home, as well as a boy who grows up to become a neo-Nazi. The plot line is a little convoluted at times, but the conclusion more than makes up for this. The message is one that is very relevant to our times, and you can be as mistrusting of Logic’s motives as you like, and I don’t even really like the song, but viewed as an isolated piece of art, this music video is incredibly inspiring and captures what it is trying to communicate perfectly.
Yours sincerely, but not too seriously,
Hello! I'm currently studying Philosophy & Theology at Oxford University, UK. Having always loved writing and music in equal measure, and having always hated decision-making, I figured hey, why do I need to choose between the two?