NOTES FROM BARCELONA: CAPÍTULO DOCE – BECAUSE SHE SAID SO | 2018-08-28

Find here a Public Service Announcement relating to the present blogpiece.

———- NFB

Notes from Barcelona is back one last time with a special instalment. This closing chapter revolves around a subject very close to Punktastic’s heart and mission.

Having reviewed much of Barcelona’s local and regional live underground scene over the last year – including a number of wonderful female-led acts – we thought we would bring you food for thought from a praiseworthy cause. One with a very unique tie to the city.

For this final feature we connected with shesaid.so, a global network of women who operate in the music industry, including a relatively small yet strong representation in the Catalan capital. Established in 2014, shesaid.so’s vision is to establish an environment that fuels collaboration, creativity, and positive values among female music industry practitioners and artists. Working on this goal, the project aims to provide a platform for discussion and community building around the world.

shesaid.so has been active ever since founder Andreea Magdalina toyed with the idea of consolidating an autonomous community for women fighting against the establishment’s structural discrimination.

From the beginning, one of its primary intents was to create interactive events for its members and their extended network, and to showcase talented female artists and their representatives. They do this by curating and speaking on panels aimed at promoting exceptional work by women in the industry, as well as offering partnership and networking opportunities to its members.

Today the community counts an active membership of almost 3,000 women around the world. Its headquarters are in London (where the movement originally began) and Los Angeles, while other key hubs are located in the Bay Area, NYC, Paris, Berlin, Mumbai and other musical poles around the globe, to a total of fourteen active cities. Barcelona is proudly one of them, as it quickly grew to host and coordinate more than 400 women across their professional and artistic endeavours.

We took the chance to speak to Barcelona-based director Georgia Taglietti and shesaid.so’s founder Andreea, discussing the origins of the initiative, the importance of keeping the community connected, the role of Barcelona in the wider community, and their new mentoring scheme.

Los Angeles-based Andreea, with a background in the UK music technology space, tells us how the idea for shesaid.so first came her when she realised that “music and technology have always struggled with diversity, particularly as one went up the career ladder to roles with decision-making power”. She noticed that the issues she was experiencing weren’t isolated, which is why she decided to put together “a group of women to start sharing these frustrations, and opportunities that would help us grow in our careers”.

One of the key objectives of the movement is the abolishment of gender stereotypes within music, by encouraging future role models. Explains Andreea, “It was important to launch initiatives that would help bridge the gap between men and women.” Primarily this would be achieved “by increasing the number of women who enter the music industry workforce, but also increasing the number of those who stay and progress in their careers”.

The initial reception to the cause, as well as its subsequent growth, have been excellent. “I wasn’t really planning for shesaid.so to become as big of an initiative as it has become”, admits Andreea, who now feels like she has the responsibility to continue with her work improving diversity and positive actions, regardless of what’s trending in the media and how much of a momentum there is at any given time.

This is why, to counter systemic and ideological struggles – and in times when even the most powerful female artists are sometimes accused of failing the Bechdel test – the community strives to achieve concrete and career-related goals by connecting the network together. “shesaid.so is a place where women can share job opportunities, interesting articles, personal stories, call for contacts and so on”, explains Andreea. “It’s all just useful stuff that helps their careers get better”.

Georgia Taglietti, who heads up the Barcelona hub, and also doubles as Global Board Member, is quick to stress how the Catalan capital represented an ideal working environment for the movement, due to its historical and cultural context. “Barcelona is still a quite conservative work environment, so I wanted to give local women the hope that things can be as diverse and inclusive as in other international music cities”.

Georgia has a wealth of experience in the music space, not least spearheading PR and communications for Barcelona’s very own music festival Sónar (where, she notes, her bosses “are all men”). Her resume and expertise put her in an ideal role when it comes to guiding and mentoring younger women within the shesaid.so’s sisterhood. She explains that “being one of the oldest members in the community, I made it a clear mission of mine to help younger and upcoming female professionals and artists going up the ladder”.

Having lived in Catalonia for 33 years, she is no stranger to Barcelona’s social and cultural dynamics. “Barcelona is a small city, however too often isolated clusters are quick to form within it, both privately and professionally”, says Georgia. This results in groups made up of “foreigners with foreigners, locals with locals, and people from the music industry not even talking to each other”.

At the same time, the seasoned shesaid.so Barcelona director knows that the movement possesses a global network and reach, both online and in-person. Ultimately, says Georgia, her contribution is “about promoting the bigger picture”, inspired as she was by the realisation that “before shesaid.so, girls and women who live here didn’t feel like there was real community for music industry people, let alone women in the music space”.

Today, Barcelona’s hub within the wider initiative is becoming increasingly mature, funnelling tangible benefits for all the women involved. “shesaid.so in Barcelona is very focused on sharing hiring options for younger local girls”, says Georgia, as “hiring is the most important thing here”. Interestingly, however, “some of the strongest and most active members in Barcelona are artists. The artist is the most visible manifestation of the movement for the public”.

More recently, shesaid.so launched its first global mentorship scheme, dubbed she.grows, after a successful pilot programme last year when it paired up 22 members of the shesaid.so community. Andreea tells us how she.grows is “a very practical way in which one can help someone else in her career, by simply mentoring them”. She adds that as part of this year’s programme, the movement will be helping 100 different women by connecting 50 pairs of mentors and mentees around the world.

When asked about some of the movement’s similar milestones over the years, the founder openly reveals: “I feel like every time I receive an email from someone who is thanking the movement for impacting their career or their life in any small way, that’s a huge milestone every single time”. This results in a win-win situation, as she is quick to point out how “that’s the kind of attitude that helps us push forward with our mission”.

Both Andreea and Georgia hope for shesaid.so to become a long-lasting effort with long-lasting effects, and they agree that things are starting to change. People within and outside the music space are noticing. “[Men] are getting more and more conscious, and that’s important”, reveals Georgia, adding how oftentimes “it’s almost like a fear-effect. They don’t look scared, but they are”.

Our two interviewees aren’t shy to admit that there is still room for potential improvement. In the years to come, they want to grow the wider network sustainably, for instance by building business plans with appropriate trade partners. And they want to optimise the intersection between female industry people and performing artists, by involving more women performers at their live events and showcases.

The overall impression is that shesaid.so is a powerful movement that is eager to achieve more, with an impressive trajectory that has great potential for the future of women in the music industry. There are big decisions waiting to be made, as the core team is working on optimising their communication channels and deciding what is best for their members. Today, both Andreea and Georgia are sure of one thing: “shesaid.so is about feeling stronger, together. And this feeling is amazing.”

Gràcies per tot i viva Catalunya!

———- NFB

Still, I’d urge you all to check out the source feature article directly on Punktastic too, as it’s wonderfully wrapped in shiny and fancy designs as well as relevant music discovery embeds that massively elevate the final product. More generally, go show them some love and explore all the incredible articles and reviews they publish, as it’s by far a much better site than this one and you won’t be disappointed.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

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ALEX REVIEWS MUSIC (ARM): DENZEL CURRY – TA13OO | 2018-08-01

I thought I’d switch it up a little bit on these ARM frequencies and throw my reviewing hands, eyes, and ears onto one of the latest Lofi hip hop mix – Beats to Relax/Study to [2018] tapes, only to then quickly realise it would’ve represented a mighty and pretty insurmountable task in and of itself, so the option faded away almost as rapidly as it initially came to fruition in my consciousness. While I’m profoundly fascinated and thrilled by said current musical phenomenon, partly encapsulated in the output tape above, I’m not sure any of its prime cultural artefacts – regardless of whether fully recorded or live-streamed – would truly fit the formula of a written critical artistic assessment of sorts, given how all over the place, diverse, disparate, and stuck together all of its intrinsic parts are (which, just to be clear, are greater than the sum of them all). So, although this is yet another extremely positively saturated music release period, with recent iridescent drops responding to the names of The Internet, R+R=NOW, as well as a whole bunch of new post-Ameer BROCKHAMPTON cuts unveiled one week at a time via their latest Beats 1’s featured radio show Things We Lost in the Fire, yours truly had to inevitably resort to SoundCloud rap sensation and Florida native prodigy Denzel Curry‘s highly anticipated and buzzed third LP TA13OO.

Denzel Curry has been turning and spinning my head for a while now, having recently delved deeper into his back catalogue after overdosing acoustically on his monumentally furious and immediate second studio album Imperial, unarguably one of the best and fiercest rap projects of the decade. Thus, after journeying on an artistic listening experience that led me to a navigation of his debut Nostalgic 64 as well as a couple intriguing EPs (2015’s 32 Zel/Planet Shrooms and last year’s 13), my experiential momentum with the 23-year-old cloud rapper/trapper gained even more meaning on the 13th July, as the MC announced the release of his full-length follow-up to Imperial, trickily entitled TA13OO, alongside unveiling its lead single “Clout Cobain“. Following the debut of previous TA13OO tracks “Sumo” and “Percs” in April and May this year, the project’s main preview track came accompanied by the revelation that the whole album would in fact be rolled out across three main acts; the 1st Act, dubbed Light, is composed of four songs and dropped on the 25th July, quickly followed in succession by Gray (2nd Act, five tracks) on the 26th, and with 3rd Act Dark wrapping up the release ceremonies with the final four cuts on the album, landing on Friday 27th. Speaking of which, this is how Denzel’s camp is promoting the project across the various channels:

“Each previously-released single represents one of the album’s acts, as “Sumo” represents Light, “Clout Cobain” represents Gray, and “Percs” represents Dark, which come together cohesively to form TA13OO. Across the three sections of TA13OO, Denzel explores topics including molestation, the presidential election, fame, hatred, paranoia, revenge, love, the current state of music and personal tales of his own near death experiences. Sonically, the album ranges just as widely as its subject matter, sounds of paranoia, fear of loss, brooding melancholy and mood swings straight from hell all find their way onto TA13OO, making this Denzel’s most groundbreaking musical performance to date.”

Needless to say, quite the refreshing approach here, defying both industry-standard Friday releases and controversial subject taboos (the pun is pretty intended), which to be fair did see more and more of the mainstream limelight recently, thanks to the whole hip-hop/rap scene self-referentially devoting more time, thought, and resources to topics like substance abuse, nihilism, violence of all sorts, as well as mental health, the latter clearly spearheaded by the groundwork lied down by none other than Kanye West in recent memory. Clocking in at just about 43 minutes, with 13 tracks of fully new material, the album came out on Beverly Hills-based Loma Vista Recordings and, much like the aforementioned promo description, ranges widely in intensity, both sonically and conceptually. Luckily, the journey takes off in the best possible way, both sounds-wise and from a sentiment standpoint, with an array of flourishing, sunset-y, and at times very catchy tracks making up the accordingly themed Light act. The eponymous album opener is an incredibly pleasant, mellow, and romantic introduction to the record, with capacious and inspired bars taking up the central portion of the cut, flipping up the conventional verse-chorus-verse formula creating a successful slow-burner, in sharp contrast to his previous album Imperial’s epic opener “ULT“.

Black Balloons” at number two on the tracklist already spoils the listener with some of the best moments this project has to offer, with a wholeheartedly gracious heat-of-the-summer number with tons, tons of retro palm tree-vibes and synths tucked on top. Discussing subjects as varied as “Sky is the limit, I could die in a minute / Got my mind in a skillet, suicide not the mission / See the vibe very timid, I’m timid and very sad / Translated my thoughts and feelings I pivot into the pad” as well as “And I just wanna be the rightest I could be / Show my son to think / so he could fly high as could be / Always show examples how they kill ni**as like me / Thinking as straight as me, but call me crazy“, the track finds Denzel and wingman GoldLink as sweetened and complaisant as never before. For sure a serious contender for jam of the summer season this year, for those flirting with the genre. Next up, as part of Act 1, is “Cash Maniac“, carrying forward the progression down the keys and synth-laden path, leveraging a delicious chorus sung by fellow Carol City artist Nyyjerya and injecting a little heavier trap-meets-funk groove and rhythm compared to the first two tracks, albeit keeping the overall BPMs in the slower average region.

The acid and visceral “Sumo” transitions the record into its middle Grey portion with enough grit and good intentions, although probably not enough to be worthy of a single-status promotion, before landing on a interstitial limbo surface that causes the album to lose a little bit of its sharply bright focus and melody it so well carried hitherto. While the short, pounding, and hypnotic “Super Saiyan Superman” might even make some sense as it is, with the exception of the deep, informative, and socially-conscious “Sirens” (“State of mind, brain is minimized, put me on the news, only criticize / Revolution will never be televised / For the enemy, they never empathize / And I never voted, never sugar coat it / With my finger itchin’ and my gun loaded“), all other cuts composing the Grey portion sound just like a more-of-the-same, quite safe, and easy territory for Denzel, both from a compositional and a delivery point of view. Sure, while “Switch It Up” and lead single “Clout Cobain” in particular are great at mastering sticky hooks and catchy sung refrains, unfortunately the overall impression from this batch of same-y tracks is that they all come across a little too slow, spacious, indulgent, and pretty repetitive. There isn’t a great deal to say about their lyrical impact either, and generally, while there is nothing wrong in slowing down the dynamic of a project and toying with laid-back moods for a while, they would’ve probably worked better and been more bearable as a single song somehow merging them three together, rather than fleshing these out across almost 11 combined minutes of running time.

Curry tries pretty hard to turn the run of play on its head for the final, gloomy, and unapologetic Black act, however he only achieves mixed results. Dark opening number “The Blackest Balloon” has nothing that would recall its Light cousin’s musical substance and impact, other than the similarity in the track title, as it carries the listener through pretty banal vocal melodies and an extremely stripped back beat production with occasional irritating sound effects coupled with very underwhelming ornaments. Fortunately, “Percs” is quite the hammering and stomping mood saviour and clearly spearheads TA13OO’s final act, even though it is filled with trendy and noteworthy features elsewhere (JPEGMAFIA and ZillaKami). Besides its sonic and delivery ferocity, lyrically “Percs” also aims at many of the overarching album topics, including especially the current state of rap and its self-destroying addiction to opioids: “With these dumbass ni**as, and they don’t say shit / Sound like “Durr, durr, durr”, you like “Oh, that’s lit” / With yo’ boof ass hits, “I’ma fuck yo’ bitch / I just popped two Xans,” Ni**a, fuck that shit!“. Penultimate song “Vengeance” sports the duo of collaborators listed above and shows signs of enhanced songwriting significance and compositional quality, otherwise not to be found so easily in the latter part of this LP. JPEGMAFIA’s verse and the song’s main refrain are probably the best moments on this very track, successfully marrying deep distortion with surgical rap flows, transitioning into a weird, flat, yet purposeful slow ballad-y outro towards 3:20, sampling a certain Mickey De Grand IV, according to genius.com.

TA13OO finishes with “Black Metal Terrorist”, a song that carried much excitement and anticipation among fans ever since the tracklist was first revealed, given its hype-building and namedropping dating back to Curry’s Imperial time. Truth be told, the cut turns out a little half-baked, partly because of its thin length and production arrays, but mainly because it shows clear and illuminating sparks of brilliant executing aggression, but somehow fails to deliver on the good promises. Flirting with the more experimental side of Denzel, the song results too all over the place and fails to express a distinct and unique identity, again a take away mainly to be ascribable to its short duration as well as the failed opportunity to legitimise specific parts or aesthetics due to its constant section twists. In many ways the album closer is actually a fair and decent representation of the project as a whole, showcasing flawless and pristine moments of high quality and lyrical self-consciousness alongside underwhelming and at times tacky beats that end up sounding a lot like fillers. It’s funny how there is a certain notion in the creative world that predicates the idea that some of the best art and music ever created stems from very obscure and dark places, both inside and outside the creator, yet here, Denzel just proved – either deliberately or not – that often times it’s the lighter side that produces the best material. Let’s embrace said proclamation based on recent evidence and let the bright side prevail, surely something not too difficult to achieve during summertime. There you have another taboo debunked.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

DENZEL CURRY

TA13OO

2018, Loma Vista Recordings

http://www.ultimatedenzelcurry.com

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