Favourite Shade of Blue: CEV talks to Lauran Hibberd
The Isle of Wight based Singer/Songwriter, effortlessly strikes a poetic imbalance between pop and folk. And at just 20, is beautifully skewing her love of literature with her ethereal vocal and delicate guitar style.
After recently supporting Clean Cut Kid, and fresh from the Bestival main stage Lauran’s ever-growing Industrial Folk sound hints at a grander live vision, captured eloquently in her recordings to date.
Lauran's voice is one of those sonic treasures that catches your attention and then reverberates in your mind even after you finish listening. Lauran spoke to CEV about her music and what it is about writing and performing music that is so addictive to her. Keep your eyes on Lauran and when she steps into the big time you can say you knew her when. And now may I introduce you to Lauren Hibberd. Enjoy!
Click here to read the interview with Lauran Hibberd
Lily first unleashed her voice on a wider audience with her independent debut “Running from the Sky”. Described by fans as “a somber fairy tale” the ethereal vocals and dark lyrics quickly earned a cult following resulting in the street singer selling over 20,000 copies as an unsigned artist. After graduating from Emerson, Lily moved to Los Angeles where she continued to busk on the third street promenade in Santa Monical. With her steady street buzz she was a natural choice for the film, “Playing for Change”-a rockumentary highlighting the lives of 16 street musicians across the country. The film struck a chord with audiences and was added into rotation on the Sundance Channel, the Independent Film Channel and Comcast On Demand. It also secured Lily her first record deal with BackPorch/Virgin and she released her second album “Everything Was Beautiful and Nothing Hurt.”
Click here to read the entire interview with LilyHolbrook
Kelly Lee Owens
Cutting Edge's Other Voices
Kelly Lee Owens by Kelly Lee Owens
In electronic music, debut albums are often statements of aesthetic purpose. They are initial arguments in favor of a certain style or technique and pledges of allegiance to this or that subgenre. The debut of Welsh-born musician Kelly Lee Owens feels more personal; not so much a way of saying, “This is what I do,” but, “This is who I am.” The 28-year-old musician grew up singing in choirs and dabbled in bass and drums. In her early 20s, she interned at XL Recordings, played in the indie rock band called the History of Apple Pie, and worked in record stores. It was there she met fellow coworkers Daniel Avery and Ghost Culture, who got her into the studio and gave her a push to put her own music out in the world. But her debut album doesn’t feel like a debut. Its songs don’t so much feel like the product of her experiences as they do some hard-to-measure leap beyond them—a message in a bottle that’s come bobbing back from somewhere in the future.
Phoebe Bridgers’ career has been propelled by fellow musicians. Ryan Adams, Conor Oberst, and Julien Baker have all sung the praises of the 23-year-old Los Angeles singer-songwriter, leading up to her full-length debut Stranger in the Alps. Fittingly, the album itself is also populated by other artists: Bridgers writes about lost legends like Bowie and Lemmy down through the local hobbyists who haunt their hometowns like ghosts in faded band tees. In “Scott Street,” she reads into how an old flame tells her his drums are “too much shit to carry.” In “Motion Sickness,” one of the year’s most exquisite breakup anthems, she lands her harshest jab in the chorus: “Hey, why do you sing with an English accent?I guess it’s too late to change it now.”
For much of Tori Amos’ solo career, the piano-thrashing composer and singer has navigated the porous membrane between the personal and the political—the starkly searing depiction of sexual assault “Me and a Gun,” her waking-nightmare flip of Eminem’s murder lullaby “97 Bonnie and Clyde,” the Trail of Tears eulogy “Scarlet’s Walk.” On her heady, fever-dreamy 15th album Native Invader, Amos adds a third element, bringing in the increasingly strip-mined Earth as both imperiled muse and guiding light. The self, the ever-more-chaotic agora, and the physical world triangulate in a way that allows Amos to take all of them on at once, and to create a despairingly poetic, chillingly vital album that channels its depictions of humanity’s horrors through intricately arranged songs.
Red State, the first and only album by Erika M. Anderson’s late-2000s noise-folk trio, Gowns, opens with a bleak but hopeful spoken-word tableau. Over morbid drones, Anderson describes a soldier’s bedroom in Fargo, N.D., “with an American flag draped over a basement window.” She listlessly names the various drugs consumed one summer in that subterranean chamber. Titled “Fargo,” the brief track ends with an image of secular transcendence. Echoed by what sounds like a heavenly chorus of junkies, Anderson recalls that “the light shining in through the window was golden/And the days stretched out as far as the horizon/And you could see the dust flow like sparkles in the air.”
Soft Sounds from Another Planet by Japanese Breakfast
Love (EP) by Kirstin
Something to Tell You by Haim
The Storm by ZZ Ward
Somewhere in Between by Verite
hopeless fountain kingdom by Halsey
From the Outside by Hey Violet
Truth is a Beautiful Thing by London Grammar
Melodrama by Lorde
I by Niia
Real High by Nite Jewel
Pollinator by Blondie
Night Thinker EP by Amy Shark
Mental Illness by Aimee Mann
The Ride by Nelly Furtado
Michael Foster, editor
CEV Blog February 2017
Time to get moving again
Welcome back to CEV here in 2017. CEV was offline for a bit but there is another reason that the site looks a little more dated than it should and that is because I found out that the latest version of the site, the only copy of the later version, was on a hard drive that died a month or so ago. I did eventually find an older copy of the site tucked away on another hard drive but not the most recent version. So please bear with me as I work to update the
site and bring it back to a useful level. I did take the opportunity to create a new logo for the site. It was a sunrise picture that I had taken over a lake near where I live and I really thought it would make a great background for a new logo for the site. You'll have to let me know what you think of it as we move forward with CEV Music here in 2017. My love affair with women in music has not abated during the time off these past few months and as I have been catching up on the releases that came out while
I was away I am finding that the flow of great women singers/songwriters and musicians has not slowed down a bit.
Welcome to a brand new feature here on Cutting Edge Voices and also welcome a new contributing writer to these pages as well. Dr. Kenneth Love will be joining us on a regular basis to share his wisdom about the music industry with anyone who is looking to give their own music careers a shot in the arm. Practical advice from years of experience in the music business is what this new column will offer you and we here at Cutting Edge Voices hope that it will
benefit you and
that you will stop back on a regular basis to catch the latest edition of Kenneth's column. To read the current article in the MuBiz With Dr. Kenneth Love column called "Today’s False Ideologies of Both Major & Indie Artists" please follow this link.
Other articles in the MuBiz with Dr. Kenneth Love Series
Lindsey Jordan recently walked into her high school principal’s office to request a few weeks off. She was itching to get out of her suburban hometown of Ellicott City, Maryland and play some shows with her three-piece rock band, Snail Mail. Jordan had secured permission-granting signatures from her mother and teachers—but she needed one more. “The principal sat me down and he was like, ‘So why should I sign this form? What is this going to do for your character?’” recalls
the 17-year-old senior, gleefully jamming her sentences into one exalted breath. “I was like, ‘Well, I don’t know if you should sign the form… but I’d really like you to!’” Jordan relays this story one Saturday night in January, before Snail Mail open for D.C. firebrands Priests at a packed show in Brooklyn; the principal signed the form.
Snail Mail is Jordan’s first band. Though she took up the guitar at age 5 and has been playing ever since, it wasn’t until the spring of 2015—moved by the complementary forces of a devastating Grouper drone set and an insurrectionary Downtown Boys rock baptism—that she endeavored to form a group of her own. Two weeks after their first practice, Snail Mail played their debut gig at a Maryland festival alongside punk bands Sheer Mag, Priests, and Screaming Females. It was
an inspired beginning that helped Jordan persist through subsequent shows that were marred by sexism. “I’ve gotten catcalled onstage,” she tells me. “It’s disgusting.”
When I was a teenager and just fumbling for a sense of what it meant to have a feeling, an idea, an impulse—and to articulate it on paper—I was listening to Kathleen Hanna sing about that same process as the leader of the seminal Riot grrrl band Bikini Kill, and later, as the frontperson of Le Tigre. At fourteen, I was just starting to try to name what it felt like to be a girl, to be angry, and to tell a story that maybe someone else could relate to. Hanna
was articulating these same ideas and emotions at a time when I had yet to fully comprehend them.
Through my girlfriend—who is making a film about Hanna called The Punk Singer—I’ve gotten the opportunity to get to know Kathleen and to talk to her about the similarities and differences between our artistic processes.
Making something out of the everything inside you is hard. Sending that something out into the world is a whole other kind of hard. That, I’ve learned firsthand. Before our conversation, I suspected that Kathleen knew a lot more about it than I did, twenty years into a career that shows no sign of slowing. I was right. She knows a lot about the pain of making good work, the risks and rewards inherent in seeing something through to its truest form. And she
knows about the hell of online commenters, of Googling oneself, and how one hate letter can outweigh a hundred love letters on the wrong day. She also knows something about moving past all that. About how we might all do better to take some cues from Beyoncé.
Chvrches' Lauren Mayberry: 'I will not accept online misogyny'
I am in a band that was born on the internet.
Although Chvrches formed and began writing in October 2011, we made our first wobbly steps into the public realm by posting a song on Neon Gold music blog in May last year. Since then, the blogosphere and social networks have arguably been the key reasons anyone knows about us at all – labels, media and members of the public included. For that reason, it has always been important to us that we communicate directly with people who care about our band through
the social networking sites we run.
There are, however, downsides to being known on the internet. Last week, I posted a screengrab of one of the many inappropriate messages sent to the band's social networks every day. After making the post, I sat back and watched with an increasingly open mouth as more and more people commented on the statement. At the time of writing, Facebook stats tell me that the post had reached 581,376 people, over five times the number of people who subscribe to the
page itself, with almost 1,000 comments underneath the image. Comments range from the disgusted and supportive to the offensively vile.
Madonna Gets Real About Sexism And Misogyny In Emotional Billboard ‘Women In Music’ Speech
Madonna opened up about the struggles and obstacles she’s faced over the years in a touching, personal speech at a Billboard Women in Music event on Friday.
While accepting a Woman of the Year award, the pop icon got real about the sexism and misogyny she’s dealt with throughout her decades-long career.
“I stand before you as a doormat. Oh, I mean, as a female entertainer,” Madonna said, via Billboard. “Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant sexism and misogyny and constant bullying and relentless abuse.”
Madonna Delivers Her Blunt Truth During Fiery, Teary Billboard Women In Music Speech
Madonna -- a global icon who extended her record as the highest-grossing female touring artist of all time in 2016 -- was honored as Woman of the Year at Billboard's Women In Music 2016 event on Friday (Dec. 9). And during her acceptance speech, she was fully ferocious, funny and brutally honest -- in other words, she was the Madonna we've known and adored since she debuted more than 30 years ago.
Madonna, unsurprisingly, stole the show the moment she took the stage. Her weapon? Something you can't contain, fake, reproduce or put a price on: Blunt, personal truth.
After opening with a joke -- "I always feel better with something hard between my legs" Madonna said, straddling the microphone stand -- she got candid very quickly.
"I stand before you as a doormat. Oh, I mean, as a female entertainer," Madonna said. "Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant sexism and misogyny and constant bullying and relentless abuse."
How Women Are Smashing Misogyny in the Music Business
In October 2014, singer-songwriter Kesha filed a lawsuit against Sony and producer Dr. Luke (Lukasz Gottwald) for sexual, verbal, emotional and physical abuse. Though a judge dismissed parts of the lawsuit in April (and denied her request to be released from her contract with Sony), Kesha prevailed in other ways; celebrities and the masses championed her cause online and in social media with a "Free Kesha" hashtag campaign, a petition demanding
Sony release her and a crowdfunding effort to try to buy her out of her contract.
started IndieMusicCoach.com in an effort to provide
one-on-one consulting and coaching to indie musicians. She founded
GoGirlsMusic.com, the oldest and largest online community of indie
women musicians, with a vision of bringing together and empowering
musicians from around the country. Ten years later it has become a
welcome destination for women in music through networking and events.
Madalyn produces the GoGirlsMusicFest, Invasion of the GoGirls, Battle of the GoGirls