This album’s gritty artistic expression and ability to evoke such deep emotion has yet to be replicated for me, cementing its place as the most important album I have listened to.
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Whether you listen to pop, rock, DNB, classical or RNB music, Spotify has it all. Every genre you can think of and millions of tracks to choose from. But what has now become increasingly apparent is that what we once knew as the fight for a record deal, is now a fight to be heard.
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If asked ‘What’s your favourite album of all time?’ which, let’s face it, is a savage question to ask any music lover, I will undoubtedly answer with this one. But why? What is it about this collection of 10 songs, lasting just 36 minutes, that has me hooked?
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There’s one thing I (at least) haven’t done in a very long time: danced – in a sweaty, crowded room, with all of my best friends, whilst the DJ plays an extended remix of Ed Sheeran and Justin Bieber’s ‘I Don’t Care’ for the third time in twenty minutes (Mbargos – you know who you are).
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Those who are hungry begin to forage for their food, hunting and gathering the remains of a ten-pound note to scrape together enough to buy a breakfast burrito. Water is gathered from a hosepipe a ten-minute walk away, after the shocking discovery that “that Evian bottle is filled with vodka, don’t brush your teeth with it”. No, this isn’t the beginning of a David Attenborough documentary: it is setting the scene of Leeds Festival, the first festival I ever attended.
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Not only do I absolutely love everything about Mitski’s music - the tone, the intensity, and the alarmingly vulnerable lyrics - but her album names are a particular favourite of mine. The title of her fourth album, and the album that I’m going to gush about for the next while, is Puberty 2, a name which on the surface is also just a funny title, but is also a really great set up for the tone of the album.
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The announcement regarding the reopening of venues – at first glance - was a relief; finally there was a way of getting the culture sector back up and running. However, the further delay and the government guidelines for when venues do reopen have now caused more concerns and raised more questions for local, grassroots venues.
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And that's the power of music; it blends into your atmosphere and brings you to a place sometimes unknown - when you haven't even moved from your bed. Your room might become a jungle under the sound of Boozoo Bajou, or you might suddenly be on an empty train leading somewhere with beautiful views - just by closing your eyes.
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I have been passionate about music for as long as I can remember; going to concerts with friends when I was in school, being forced to listen to Absolute Radio 80s in the car with my dad, dancing to 60s Northern soul music at The Lanes every Saturday when I was 18.
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On Saturday night I was treated to a full set by The Comet is Coming, and if I had stayed up any longer could have spent the rest of the night streaming sets by Disclosure, Helena Hauff and dipped into DJ EZ doing a mammoth 24 hour DJ set. Sadly, red wine, crisps and desperation don’t stimulate me enough to stay up alone past midnight in this new world order.
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Running alongside the meteoric rise of Swedish rap sensation Yung Lean, a parallel course has been quietly trodden by auto-tune crooner Bladee. Although not sporting the same level of commercial success as Yung Lean (Jonatan Leandoer Håstad), Bladee (Benjamin Reichwald) has been there from the beginning, his creative output traversing between the Sad Boys collective and his own group, Drain Gang (formerly Gravity Boys and Shield Gang).
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Bristol celebrates music in all forms, never shunning anyone away but instead lifting them up, giving bands and artists a platform to create, produce and perform. There is a sense of community when gig-goers join to watch a well-loved band, knowing that their money is helping independent venues and local artists pursue their passion.
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