by Jonathan Lee
The oldest known song in the British Isles dates back 1,400 years and it’s written in Welsh.
Pais Dinogad was sung in Rheged, a kingdom of Yr Hen Ogledd (the old North), in what is now modern day Cumbria and the Scottish Lowlands. The song is a simple lullaby, telling a baby of his father, Lord Dinogad, who is out hunting in a time long before Anglo-Saxons or even Gaels had arrived in this part of Britain.
It probably wouldn’t be described as an absolute banger if we’re completely honest (although this lyre-wielding, tattooed, metal-head gives it a real good go). It’s nonetheless incredible that it’s still being sung at all today, and that its lyrics are broadly comprehensible to modern Welsh speakers.Continue Reading
By Rowan Gavin and Liam Hawkes
“We break the rules”
So says lead singer Amy MacKown on Simple Tune, the penultimate track of the debut album from Oxford’s current premiere Reggae outfit, ZAIA. We wouldn’t say they break the rules so much as blend and bend them, juggling genres and playing with preconceptions throughout this fascinating and infectious summertime record.
by Mike Vinti
It’s been a pretty big couple of weeks in the pop world. Prince died, Beyoncé pulled a well, a Beyoncé, and today (Friday April 29th) Drake has released his new album VIEWS. If ever there was a week to remind us of popular music’s impact on society and culture, this is the one.
While each of these moments are significant in their own right and worthy of articles of their own, of which there have been many, together they’ve demonstrated the power of music to unite people. Be it through, grief, shock or pure unadulterated hype, the three most significant cultural moments of the past eight days have used music to bring people together and for a few days at least, forget about those intent on tearing us apart.Continue Reading
by Carmina Masoliver
I have a strange memory of Christina Aguilera performing Genie in a Bottle on Top of the Pops and my dad asking if I liked her songs. Strange, because it’s so unremarkable to be kept inside my head. At this stage I her career, she had made her big break, and soon enough I was listening to her album, with hits such as What a Girls Wants and Come On Over (All I Want Is You). Yet, it was three years later, when she released what I will always think of as her best album: Stripped.
I was having a hard time at school, and listening to this album was the very definition of empowering. I had been pushed out of a friendship group during a time where looking back, I honestly believe I was depressed, and this escalated to the extent where I felt I was a target for lots of different groups at school. I did make some new friends, and remember connecting with one of them through a shared love of this album. This was before we had learnt to talk about why it is that Beautiful holds so much resonance with us, but fourteen years later and we are still friends, now sharing a love of bell hooks.Continue Reading
by Mike Vinti
The lines between the underground and mainstream music worlds have been blurring for a while now. As with the majority of issues facing the music industry these days, this is largely because of the internet. While it’s been an undeniably positive force on music itself, allowing fans and artists to connect more easily as well as opening whole new worlds of music to potential fans, it’s also made underground music more marketable.
This may not sound like a bad thing, and to a large extent it isn’t. While it would be great if musicians could live off credibility alone, in the ruthless world of capitalism in which we live, you need to be stacking that P if you want to survive. Where this increased marketability becomes less positive however is when corporations start getting involved.Continue Reading
by Mike Vinti
It often seems today that everything exists in its own sphere — music in one box, politics in another, and visual art in another still. This is self-evident when you take a look at a lot of popular culture. For example, the rise of TV shows and films, such as The Interview, that use politics as backdrop for their plot, yet fail to engage in any substantial political critique.
The same thing has been taking place in music for the past twenty years, and musicians who have attempted to rectify this have either been relegated from their illustrious chart positions, or left to the underground.
This separation has made it harder for writers and artists of all stripes to experiment with the boundaries of their medium, and there’s been a death of explicitly political works of culture which make into the mainstream because of this. Of course, challenging the dominant perception of your chosen field always creates a stir. However it seems now, more than ever, musicians aren’t even being afforded the chance to do that.