It’s been a long time since we’ve heard triumphant brass solos in the electronic music world. The last, most distinctive track to have one would be Capital Cities’ Safe and Sound, but that was a song which was more bubbly nature. Combined with hard-hitting, hazy synths, Closer twists the emotive feel of the instrument into a more gritty-sounding anthem.
Contrast this euphoric chorus with the soft, delicate vocals of Jennie A. and a simplistic piano melody in the verses, then you have a balance between calm and chaotic which is where the track really flourishes. It’s also no surprise that the UK music video also picks up on this mix, with a story about a young boy who is calm and peaceful until some misfortune happens. Then, he turns into a raging adult, causing havoc all around him.
Now, as Google jump onto the smartphone scene with their new Pixel phone, of course they needed a track full of energy to accompany the commercial – and they needed to look no further than Closer by Lemaitre to find the right track.
I’ve been rather busy. As a flurry of university assignments come my way until the end of this year, I fear that the time I have to put into other creative commitments will be somewhat limited. Journalism is a practical subject and so are the tasks, where I have to conduct interviews, take photos and so forth. As a result, there’s a lot more work involved as opposed to essay-writing. Of course, my academic life must come first and so unfortunately for the next month, the number of posts on my blog may dwindle. If so, I apologise.
Aside from being occupied with other things, it’s almost as though my creativity has taken a hit too. Of course, it hasn’t gone completely, but as I work on my radio shows, assignments and other commitments, I get a sense of confusion (perhaps even a feeling of being ‘burnt out’) when I start to think about uploading another YouTube video or blog post.
For example, I had no idea of what to write about on Wednesday this week and for my Friday Article, whilst there were big political events happening (e.g. the Autumn Statement and others), I didn’t have a specific argument to make or enough time to conduct further research.
Looking ahead to next week, I do have an idea for tomorrow’s post, but I have nothing in mind when it comes to Wednesday, Friday or Sunday. I don’t want to abandon posting completely until the end of the year, so I will be uploading blog posts when I can. However, my weekly schedule may not be happening for a few weeks or so. I hope you understand.
Rockabye as Clean Bandit’s latest release built upon this new style the trio had started to create ahead of their next studio album. However, with messy vocal chop-ups, the appearance of ‘love him or hate him’ artist Sean Paul, and it being their first track without Neil Amin-Smith, Clean Bandit’s new song got off to a bumpy start – taking three weeks for the single to make it to number one. Whilst Rockabye is quite calypso and tropical in nature, fans who miss the band’s more pop-sounding style may enjoy a remix by the Dutch DJ, Jack Wins.
After all, at the core of the track is a build-up and drop with vibrant piano/synth stabs, which will take listeners all the way back to Clean Bandit’s earlier releases such as Rather Be and Extraordinary. Alongside a fast-paced tempo and bubbly instrumentals, Jack breathes life into Rockabye with a remix full of colour and emotion – which is a refreshing change from the laid-back original.
However, as well as being transformative (including offering an interesting alternative to Sean Paul, with Anne-Marie singing his lines instead), the track remains heavily faithful to the original – with the vocals remaining untouched and a slight hint of strings heard in the original. It’s a version which balances old and new – and that’s exactly what a remix should be.
Overall, Jack Wins’ style is wonderfully up-beat, tapping into the vibrant piano/synth chords trend we see adopted by DJs such as Sigala (Ain’t Giving Up) and MK (Piece of Me). Jack has already been noticed by key DJs and radio stations, and now, with another high-profile remix under his belt – this time in the form of Clean Bandit’s Rockabye – something tells me it won’t be long before Jack Wins makes even bigger waves on the house scene.
During my radio newsday at university this week, I was assigned the role of a sports journalist. This was quite daunting for me given that I’m not really knowledgeable on the subject. Granted, when football or tennis move into the general news agenda, then I do know a fair amount about what’s going on (for example, the Sam Allardyce scandal and Andy Murray’s pursuit of the world number one title). Yet, I don’t passionately support or keep a close eye on a particular football team. So, understandably, I was a bit nervous about being given the position of a sports reporter.
However, that’s the crazy but wonderful thing about journalism. The pressure surrounding the profession does force reporters to go outside their comfort zones. For those on my course who were a little bit shy at first, a couple of ‘vox pops’ (interviewing members of the public) helped give them confidence, and now for me, it’s gifted me with a little more knowledge about the sporting world. The area outside my comfort zone has now become – a small part of – my actual comfort zone.
In the space of six hours, I was clued up on a BBC report into the price of tickets and food at different football grounds, had an interviewee available and attended my first ever press conference at a football club. Journalism forces you to go outside your comfort zone, and if you do, then you learn new things and get rewarded with amazing opportunities or interesting people to meet.
It’s one of the reasons why I want to be a journalist: you have the opportunity to learn new information (or news) every day in such a short space of time, become an expert on it, meet new people and interview them, and then share the news with the rest of the world – and that is a beautiful thing.
Britain is in stasis. Ironically, for ‘leave’ voters who put a cross in the box out of a desire for change, progression is yet to take place. The general public are left confused and twiddling their thumbs as a leaked memo fuels concerns that Theresa May has ‘no plans’ for Brexit. We are forced to ‘make-do’ and accept the result of the referendum, despite no clear signs of moving forward, and whilst we must have hope, it’s likely that most people have sunk into a state of defeatism as the establishment remains in power and right-wing populism sweeps the western world.
The EU referendum vote started the politics of emotion. We were forced to prophesise; we couldn’t predict what would happen if we voted to leave or remain a member. Granted, there were some facts – a minimal amount, mostly from an economical standpoint – but soon politicians realised that the limited supply of facts, soundbites and trump cards were not enough. It was time to play with people’s feelings. Britain Stronger in Europe and Vote Leave opted for scaremongering, with the latter also encouraging nationalism towards the end of the campaign period. Now, months after the result, both emotions are present in our society: a fear for the future overshadowed by false patriotism and anti-immigration sentiment. Anger and frustration are the feelings to harness in order to win votes – it was used by Vote Leave and Trump, and it will soon be adopted by other Western countries (take France’s Marine Le Pen, for example).
This change in the political climate was even noted by the Oxford English Dictionary when it came to their word of the year. ‘Post-truth’, which they defined as being when ‘objective facts are less influential in shaping public opinion than appeals to emotion and personal belief’ is the perfect description of the strategy political parties are adopting at the moment. Yet, it cannot just be applied to Westminster, but also to the media outlets which manipulate the masses.
We only need to turn to The Daily Mail for an example of this. The outspoken right-wing newspaper wet themselves when the vote to leave the European Union came in and now, as nationalism sweeps the western world, they feel as though their over-the-top, emotive journalistic style is now justified – and can be exaggerated further.
Bound to the pessimism of journalism, and with a sense that their emotive opinions are verified after Brexit, The Daily Mail has adopted a narrative of hate and extreme nationalism. The Enemies of the People headline still continues to attract controversy to this day and demonstrates the pure vitriol fired at any news which veers away from said narrative.
Britain’s vote to leave the European Union left an anti-establishment rhetoric hanging in the air. A clear vote against the Brussels elite (amongst other things) worried right-wing politicians. Underneath the facade of warped patriotism came the concern that this vote would impact the establishment’s position. After realising that, they twisted the story. It was not the 1% responsible for most of our country’s problems, but immigrants. However, the anti-establishment sentiment in society hasn’t gone completely.
Labour still has a very large membership and more people are seeing the true definition of who and what the elite is. We’ve realised that Theresa May’s promise of being a party which works for the 99%, not ‘the privileged few’ was a broken one, as they couldn’t help but enact their right-wing policies. Whilst our say over these decisions are minimal, there’s other methods people have adopted in order to change the structure of our establishment. If we can’t change the politicians, we can change the media.
To go back to topic of The Daily Mail, a campaign called Stop Funding Hate attracted huge amounts of press coverage last week. Its aim, as described in its bio on Twitter, is to “take on the divisive hate campaigns of the Sun, Daily Mail and Daily Express” and it received mass media attention after it encouraged toy manufacturer Lego to stop advertising with The Daily Mail.
Whilst Lego’s withdrawal of advertising is an ‘indirect’ way of changing the media’s message, the ‘banning’ of the three papers at the university is more direct, which some have branded as censorship.
The motion itself argues that “freedom of speech should not be used as an excuse to attack the weakest and poorest members of society”, but others believe that it restricts discussion and debate. At what point does freedom of speech no longer apply? It’s a question which has lingered around in our society for a long time, but as unpopular and controversial opinions dominate politics and the right-wing media, it’s been brought to the forefront.
There’s no clear answer, but in an era of post-truth, journalists must make factual reporting their priority, rather than emotive sensationalism. If that’s what Stop Funding Hate aims to direct the far-right newspapers towards then so be it. One of the main influencers of public opinion is the media, and so if we can get rid of extensive and excessive emotive reporting, we may just see a return to the politics of fact which we desperately need.
The answer lies in change and challenge, rather than dismissal. As the spoof reporter Jonathan Pie argues in his video on Trump’s victory, the left cannot continue to shut down political debate by hurling insults at individuals with controversial or opposing opinions, as that then leads to bottling their views up until they reach the only safe place they have: the polling booth.
The Stop the Hate campaign is a wise move against tackling hatred in society, but whilst we can try to change the media outlets which influence public opinion (to an extent, a biased media does benefit a democracy), the one thing we cannot censor are the people with these opinions themselves. Otherwise, the silent voters will elect the right-wing candidate again and the sense of defeatism in society will become ever stronger.
A young musician walks on to the Acoustic Stage at Glastonbury. Guitar in hand, it’s a usual sight at music festivals, so the focus shifts from the guitar to the voice. For Gabrielle Aplin, her shy, soft vocals intertwine with light piano chords and fluttering guitar riffs. An appearance on a John Lewis advert plus a solid debut album, English Rain, defined her style as calm, upbeat folk. Yet now, her latest single, Miss You, sees her break away from the world of folk, dabbling into the mainstream and overpopulated world of dance music.
Is this Aplin succumbing to the latest musical trends in order to gain more listeners? Hopefully not. Although, the world of synth heavy dance/club music is dominated by the likes of the soulful Becky Hill or the sassy Zara Larsson. The genre is over-saturated with generic or powerful vocals, because that’s what pop music tends to demand. Beautifully smooth and mellow, Gabrielle’s tone isn’t something we usually hear in this genre. Miss You may detract from her earlier work, but it’s a successful move for the Panic Cord singer.
At first, you’d be forgiven for thinking that it’s another traditional song from Aplin – a brief piano melody having the possibility of fooling some listeners. That is, until off-beat synth chords and a bouncy drum beat are introduced alongside Gabrielle’s vocals. Throughout the track, the lyrics fluctuate around the single’s distinctive rhythm. It’s when the line And I won’t let gooh (or its variant, And I won’t let go again) matches the staccato synth chords in the chorus that Aplin’s emotion is truly emphasised.
Whilst the style is different, once again, the focus has always been on Gabrielle Aplin’s unique vocal style, which remains emotive and unchanged even when the singer tries out a new musical genre. Miss You is a risky move by the artist, but one perfectly and cleverly executed.
I have always been a night owl. Whether it’s the late-night book or blog post ideas which spark into life in my mind, or I’m engrossed in a book which distracts me from creeping sleep deprivation and how late it is. However, these have always been for leisure activities. It was Tuesday. I planned to do my first ‘all-nighter’. A title panicked students wish to claim should they need to complete an assignment at the last minute, or for a student journalist, something completely normal when an election or referendum takes place.
Energy and adrenaline came from a variety of places throughout the night, pushing away the tiredness. Lemonade from the student bar was the bubbly sweet tang which stuck my eyes open, and excitable discussions with friends kept my thoughts whirring until midnight. Then, as it went past midnight, the political circus was enough to engage me until the early hours.
The atmosphere was another contributing factor. Jubilant students cheered whenever Hillary Clinton’s face appeared on-screen with the news that she had won another state. Students, united in one clear notion and want for Hillary Clinton to win (save for a few small groups dotted around the bar who backed Trump), had come together to wish America well.
Tea soon replaced lemonade. The lemonade had lost its tang – whether Trump’s creeping victory had soured things or if it was because the drink no longer spiked up my energy levels, I didn’t know.
Caffeine only somewhat did the trick. Defeatism was the avenue to me feeling a little bit tired as the clock moved on to 3am.
I left the bar shortly afterwards as rain battered my black coat. It wasn’t quite the pathetic fallacy. The harsh cold captured some of my attention, but as I walked home, most of my thoughts were elsewhere. How is Trump winning? Why has American politics has become an even bigger topic of interest to us across the pond?
There’s something weird about being an outsider – free to comment on the politics, but without a vote, we can only watch as the results come in. We can only hope for the best for our US friends. The US media bridges the gap across the pond. We watch on, commenting throughout the night. It’s like we’re looking down on them like a father figure. After Brexit, some may see it that way.
I laid in bed. I needed the hour’s sleep. A 9am lecture later meant that I would have to get up at 7am to get ready. As the clock ticked past 5 o’clock, I decided to call it a night. The votes had stagnated, I knew what the result would be, and hoped I would be awake to see the final result to confirm my thoughts.
I was too late. I turned on the BBC to see Trump standing behind the podium, making an impassioned speech as the new president-elect.
In the early hours of Wednesday morning, we found out that Donald Trump is to be the 45th President of the United States. Earlier this week, I decided I was going to write a Friday Article on the result, but found that the points I wanted to make were too similar to the ones raised in this video by the spoof reporter, Jonathan Pie. Instead, I thought I’d save my reaction and discuss the US election in this week’s ‘A Fictional Reality’.