Feeders Fightback

After the restructuring of their label Echo in late '08, Brit Rock stalwarts Feeder were forced to evaluate what path to take next in their already distinguished career. Having seen annual losses of up to two million in 2005, in order to stop the rot Echo had been forced to make the slow transition from an established label to more of an avenue for new acts. meaning little weight was thrown behind their already well-known acts.

Mark Richardson (drummer), promptly left the band shortly after the release of their 6th studio album (and final Echo release) Silent Cry, to rejoin his previous outfit Skunk Anansie on word of their reformation. Feeder front-man, guitarist & chief songwriter, Grant Nicholas, along with bassist Taka Hirose, made the decision to start up their own record label, Big Teeth Records. Given recent successes such as as fellow Brits Fightstar's decision to take the same path and subsequently release "Be Human" (to critical acclaim), it seemed the logical choice.



So, as a fan who places his reason for getting into music solely on the shoulders of this outfit, how do I feel about their transition from Download festival darlings to argubly what could be considered a second coming? Certainly without the weight of a Major labels finance the degree of exposure they received post-Echo the difference was obvious - and serves as a great example to anyone of what a difference Major-label backing makes.

More to follow....

(Pete Wilson, Provisional News Piece), Pitching the Piece

1) Title (Black Capitals)
2) Brief Outline / Approach - Who you are going to interview (multiple)
3) Why my piece will be of interest - Readers (VIBE)
4) Contact numbers & addresses, all people approached / interviewed

Example as followed - my News Orientated Music Scheme piece, 500 words (approx.)

1) BRUSH WITH A BEATLE

2) Sat down with Pete Wilson, Course Leader, Faculty of Media, Arts & Society. Specifically, emphasis on performance element of the music scheme.

3) Solent's Links with the wider music community at large. Whilst focus is on the internal activities of the Music Scheme, wanted to give greater exposure to Solent's ties with the outside world and opportunities it provides. He met Paul McCartney and played bass during a recording session of his. Need I say more

4) Pete Wilson, Senior Lecturer in Music Performance, 02380 319383, peter.wilson@solent.ac.uk

(Pete Wilson, Provisional News Piece), Evaluation

Looking back at the task set to me two weeks back (see previous article, delayed post), that is - to write a 500 word feature piece focusing on an individual related to the Solent Music Scheme, I definitely feel there was particular elements that could have been improved on; when compared to Brooks' article.

Most notably, I found Brooks' technique to finish his article off with a quote from the interviewee to be very effective. Not only does it feel as though Waits' himself is seeing off the final word as it were, but it reinforces to the reader, where their focus should be on. It is not uncommon for the interviewers opinions/views to become more apparent than the subject matter - I found this technique providing the opposite.

It comes as no surprise then to find my technique of going about the opposite, ie; the piece almost being cut off mid-flow, does not provide me with any great degree of satisfaction post-submission. This is an element I will definitely focus on for any future articles and will use this as a learning experience.

In addition, I believe that Brooks found a perfect balance between the three main contributing factors to this piece - quotations from Waits, his own thoughts, and narrative in-between. The mix of all three I believe can sometimes shift the focus and attention of an article away from its intended subject, but Brooks is able to incorporate all these angles successfully whilst retaining, at least my attention, on the subject matter at hand.

Journalism Practice (Pete Wilson, Provisional News Piece)

"He said, "Hello, I'm Paul," I was thinking, "No Shit"

Its not often in ones lifetime you'd be fortunate enough to meet somebody deemed to be of real music heritage, so imagine Pete Wilson (Course Leader, Faculty of Media, Arts and Society) surprise when given the opportunity to play bass alongside a certain Paul McCartney, known to the world at wide as argubly the worlds greatest living song-writer and ex-member of a little-knwon 4 piece from Liverpool.

"At the time I was working for John Harl" he explained, a well-known Sax player to certain audiences, who at the time had been asked to create and produce a piece of music for a film. Having played bass with John at BBC proms, he was well aware of Petes ability - and it didn't take long for him to get the call. Of being asked if he wanted to play bass for McCartney, "felt like being asked whether you wanted to give mass to the pope". Held at the legendary Abbey Road Studios in late '98, its safe to say it will be an experience that Pete won't long forget, or one that I won't grow envious of every time I hear this story. "Absolutely amazing," he explained, "A complete gent & unnecessarily friendly." It will come of a shock to many then, that this recording session in particular took place only 6 months after the death of Linda, Pauls wife.

"The first record I ever bought was E.L.O's "Out of the Blue," and I still listen to it to this day," he proudly declared. Having made the purchase at the age of 10, it struck me as somewhat of an established choice for the infamous first album, and asked whether either of his parents musical preferences paved the way for this desicion. "They didn't listen to pop radio," he quipped, quickly adding, " I don't blame my parents (for musical tastes)."

I for one, was curious to know how Pete had been fortunate enough to land so many interesting gigs and recording slots over the years, was it solely down to hard work? Luck? Contacts? Turns out, all 3. How did he manage to build up such a large & varied mix of artists? "Essentially word of mouth," he explained; "Being around for a very long time, builds up a CV - in particular, 17 years. I tell my students to make demos and build up a portfolio - but in truth thats not the way I landed most of my gigs".

A degree of writing to aspire to....

Envy - "Insomniac Doze"

The year is 1991. The line between alternative and mainstream culture in America is irreparably blurred, just as a group of Japanese teenagers form an uncompromising thrash band half a world away, spitting 2-minute blasts of indecipherable terror for anyone that can stand the physical and emotional damage it willfully inflicts. Fast-forward fifteen years: Punk¹s corpse has been cannibalized to the bone and Envy has irreparably blurred the lines dividing the various factions of hardcore. Still terrifyingly sincere, their songs are now life-affirming, triumphant portraits for anyone strong-willed enough to withstand the emotional epiphanies they inspire.

Portfolio Brainstorm

News to many within the class a few weeks back, Martin explained the concept of the Portfolio that we were to be submitting in 6-7 weeks time. This will be an individual project, based on the current Music Scheme within the Solent. A collection of features, 2000 words, with an (approx) hand-in date of 6-7 weeks.

What would I feel would comfortable working on, which I believed had the potential to both satisfy the particular market in question & be of standalone interest?

Specifically, I fell upon the idea of the International Scene in general, and how elements of the University still have ties to this aspect of music. Below are possible avenues of interest I would look into;

Current/Ex-Students: First port of call, Cecila Polport - Possible connections to the Institut Francais (1910 - 2010), official French government centre of language and culture, within the Uk. Look to arrange an interview. Questions to include her course experience etc. Working for the Institute, what areas does her work cover. Scenes & sub-cultures particular/exclusive to France. How did she get involved with this - other interests etc? Also, will look to ask about other international relations, such as within her class at the University. Additional students to cover include Enis Punessen.

Martin James & additional lecturers - Martins work has been translated into various languages for overseas distribution, how did this come about - presumably choice of the Distributor? What about other lecturers, must be others working on publications etc. Has he had any experiences with International Artists in particular. A good aspect to focus on would be the language barrier. What are his opinions on foreign exposure with the Uk - and English-speaking markets in general? French Connections - appeal to the French Market. Able to ask Martin about his experience with overseas exposure, what are his and others views on international scenes and languages. Do they receive sufficient exposure within the Uk?

Lucy O'Brien - her works, "Madonna: Like an Icon (2007) - Translated / distributed into 13 different languages, her involvement with this process.

Ruth Dockwray - Queen: Anthems and Complex Songs - published in Japan in 2005, and appeared in the Japanese documentary "Bohemian Rhapsody: The Best Song in the Millennium" (2002). Has also been a quest speaker on behalf of (working with) JCMP (Management Consultancy), as quest speakers in research seminars at La Sorbonne, Paris - and has given papers at international conferences including ICMSN (International Conference on Music since 1990). In addition, papers given for IASPM (International Association for the Study of Popular Music), in Rome, Mexico & Liverpool. How did this come about - go into etc).

Students - Following on from my interview with Martin, I will look to gain a whole spectrum of opinions from students, both first years & third years. This is only a brainstorm at present, but from Martins interview I would like to get an idea of what direction I should pursue which the target audience will enjoy more. From here I can base my questions specifically on whatever agenda I am looking for feedback on. Would a survey listing particular questions be beneficial? Elaborate.

Solent Bands - Could be a possible dead end, but what of bands from the University. Have they managed to receive any exposure internationally? Ian Easton, etc. Again, their opinions on outside markets etc.