Jimi Hendrix called it ‘a safe
kind of high’, likely because in truth music is far more about feeling than anything else. Why we listen to it and just
what it makes us feel, plays a role in our collective passion for it – because
we all remember where we were when we heard that track for the first time.
In every song there’s a story, within each beat, a smartly hidden intent
and sentiment with a crescendo that usually means something on a deeply
personal level. Most of all it’s
an energy that makes us lean in, takes us back, brings us there and channels
our emotions. Favourites tap into that instinctive part of our psyches,
stirring up emotions and thoughts that race through our bodies, but the
dopamine trigger itself is found within that emotion. Lyrics and beats
keep us hooked and they’re all a collectively part of the journey. But a key part of any journey is the
beginning and here on Denmark Street was where a unique and very
particular sound was either created or in some cases, made famous.
Whether it
was from Jimi’s upside-down white Stratocaster with
a little fuzz distortion or the egg cartons used for sound-proofing a
debut album that would ‘Not Fade Away’ or the controversial story of The Kinks’ stabbing
an amplifier with a knitting needle to create an impossible guitar tone; they
all made a sound that redefined music and helped forge the streets’ DNA. The
Listening Bar part 5 gathers
just a few folks who are marching to the beat of their own drum and from ‘That
DNA’ have moulded and interpreted their own unique style, taking the sound to palpably
pioneering heights.
Hailing from the Midlands, The
Struts possess a flavour of glam rock that’s mixed with an emotive, and infectious energy that fills your ears, home and arena.
Taking their name from a description of vocalist Luke Spiller’s stagecraft, the
band’s early career saw them open for The Stones in ’14, Guns n’ Roses in ’16
and then the Foo Fighters and The Who in ’17. Their bold unapologetic energy,
makes them the natural inheritors of the genres traditions.
Another juggernaut of creative
output with his own unique story is Yungblud, whose grandfather
played with T. Rex and whose father owns Hank’s guitar shop here on Denmark
Street. With flashes of Bowie, the BBC called him, “An alt-rock Iron Man:
Resourceful, idealistic, borderline manic and very, very loud”. But to us
Yungblud is the sound of the ultimate outsider, who hung out in a place that
understood him and subsequently, he kicked his way in.
Californian-born,
British-Jamaican Celeste is a rare talent. She was originally
inspired to start singing when she heard Elton John’s ‘Your Song’ and
after a long line of gigs found prominence after completing a month-long
residency at West London hangout, Laylow. With shades of Adele, Celeste performed
before the likes of Riz Ahmed and Idris Elba, leading to a live performance
with Roy Ayres. Since then she’s won a Brit Award and BBC
Music Awards and also become the first artist to create an original song for
the annual John Lewis ’20 Christmas advert.
London based Dream Wife bring
an unprecedented energy with an all-female line up and a sound that’s punk
rock, pop and indie rock in every beat. With shades of the Sex Pistols, NME gave
their self-titled album 10 out of 10 stating: “God damn have we been waiting
for a band like Dream Wife”. Boasting that same similar DIY culture is ‘Shame’,
Dream Wife have been labelled as ones to watch by Clash and Paste. Describing
her music as ‘experimental’ and going far beyond the pigeon hole of ‘just’ a
rapper Little Simz has performed with Estelle, Tinie Tempah,
Ms Dynamite and Kano. With collaborators Space Age, she released
the sweetly smooth ‘Problems’ featuring a sample from The Stones’ much loved track,
‘Gimme Shelter’.
Switching gears, the much talked
about Ezra Collective effortlessly tap into the acid jazz
scene which has been resurgent in London for the last few years. Their debut
album ‘You Can’t Steal My Joy’ has been critically acclaimed and seen the five
piece band collaborate with the likes of Gilles Peterson, Loyle Carner and
Jorja Smith. British born Rex Orange Country, real name
Alexander O’Connor, hails from Surrey and his sound has shades of a younger
Elton John but with audible Green Day and Queen references too. He’s
collaborated with Tyler, the Creator among others, cementing a disparate range
of influences into something uniquely his. Laura Marling has
been a cult favourite since winning the 2011 Brit Awards Best Female Solo
Artist award, with a distinctive sound that’s reminiscent of Jeff
Buckley.
With a little Ziggy Stardust, Matt Maltese is himself an
anthem. Beyond his years there’s a wisdom in his ballads that’s easily
identifiable as his own blend of emotion and fire. ‘As the World Caves In’,
just might make you think of Suede, while Clash call him, ‘the love child of
folk and grunge’, Wolf Alice’s similarly 90s inspirations stem
from Hole and Elastica and further back, The Pretenders – but their structures
and ragged energy update the formula into something new. For Green
Lung, Black Sabbath are an obvious reference but listen carefully for the clear
distinction points. They’ve their own signature sound that’s packed with clever
riffs and great vocals. Not at all an homage, their sound is best described as
an intelligent evolution of a much loved genre.
And finally a personal favourite
from us We Are Shining and in particular Kara their 2014
album. From the duo of Morgan and Acyde, who’ve played with Kanye and FKA Twigs
the debut track, ‘Road’ also features vocals from Noisette’s Shingai. The
Guardian called the album a clash of “rock, swampy blues, climatic gospel and
soul”. But ‘Road’ in particular captures some of those long, beautiful and
windy Hendrix guitar riffs and solos mixed in with that soft and heavy beat.
All this, along with Acyde’s own vocals effortlessly creating that 70s Los
Angeles meets 60s London melodic sound that conjures up images of a lost
evening on the west coast with nothing but Morrison and Hendrix for
company.
THE LISTENING BAR part 5, 'That
DNA' is now live.