by Sunetra Senior
CW: abuse, DV, violence
Man-on-woman abusive relationships are often pictured as shows of overt violence and brutalism. You imagine a fragile feminine frame being thrown against a wall by a heaving, snarling man, as if a piece of precious china. But this is only a surface image, and what I would even go so far as to call a political smoke-screen. Though physical intimidation does despicably feature in many cases of male-on-female violence, the less acknowledged – and thus yet more prevalent– characteristic of abuse of women is deeply emotional, and moreover, disturbingly banal.Continue Reading
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 Chris Jarvis
For most, Norfolk boys Shock ! Hazard will appear as something of an antilogy. Their sound and aesthetics are clearly rooted in and influenced by early heavy metal pioneers like Led Zeppelin and the less flamboyant hair metallers of the 1980s – thumping riffs, extended guitar solos and screeching vocals galore. More than anything, this sound and this scene has been known for its bone-headed hedonism, its sex, drugs and rock ‘n’ roll attitude, and the carefree and unrestricted antics of its participants; hardly the place you go to find revolutionary calls to action or heavily politicised lyricism. Putting aside the question as to whether participation in a counter-culture is an inherently political act for a minute, unlike other musical movements, from punk to folk to hip-hip, this straight-up, hard hitting, in your face rock and roll, has made its name in part for being almost overtly apolitical.
By Robyn Banks
“Exposure doesn’t pay rent”- it’s something we’ve likely all heard before, whether you’re a business looking to save money on photography, asking a friend for a favour or simply scrolling through Tumblr. The line “We can’t pay you, but it will be great exposure!” has become the bane of every artist’s life, and it’s understandable why. There has never been a sector of the workforce who have been asked so frequently to work for free as the creative sector. However, I don’t believe there has ever been such an individually vocal sector of the UKs exploited workforce, either.
by Mike Vinti
It was announced on Wednesday that influential music blog Pitchfork – virtual second home to many music nerds – has been sold to Condé Nast, the publishing group behind Vanity Fair and Vogue.
On the face of it, this is a pretty boring piece of news to anyone other than music journalists; Condé Nast is no longer the giant of media it once was, and Pitchfork has a relatively niche audience. As such, this announcement has been met with derision by many in the blogosphere, perhaps wary of the old-world Nasties infringing on their ad revenue, alongside some legitimate concerns for the diversity of its audience and contributor pool. Yet aside from the dull business of one company purchasing another, the deal proves far more interesting than it first appears.Continue Reading
by Mike Vinti
It has been three weeks now since David Cameron Inc. and things haven’t exactly started smoothly — there have been protests up and down the country, the SNP are already pissing off half of Westminster, and the new Cabinet is somehow worse than the old one.
Hanging over it all is the question of what the left is going to look like over the next five years and how best to fight the newly upgraded conservative government and their inept, yet terrifying, policies for the new parliament.
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.