It’s official. The make-up of the UK’s singles chart might never be the same again as the dominating genre of ‘pop’ has spread it’s influence over what was once a chart full of diversity ranging from rock ‘n’ roll to dance and back to hip-hop/rap. And the problem doesn’t end there; pop isn’t what it used to be. Dance DJs and rappers are now struggling to pull themselves away from the encroachment of pop music and have become immersed in a world of auto-tuned, catchy lyrics and dull, lifeless beats.

This might seem a rather pessimistic view but the evidence is clear. The latest Official UK Top 40 Chart (from 27 Feb 2011) contained only 8 ‘non-pop’ songs meaning that the chart was dominated by only one genre: pop, making up a staggering 80% of the chart.

Fearne Cotton and Reggie Yates present a weekly show listing the UK music chart on Radio 1

However, what is ‘pop music’? The term is originally derived from the phrase ‘popular music’ which was first used in the 1920s. But the term ‘pop music’ came into the public’s perspective during the late 1950s with the introduction of The Beatles (the acclaimed ‘Kings of Pop’) onto the national music scene where it was used to distinguish between classical and non-classical music. This has since developed further to differ between the modern genres we listen to today.

The concern is that musical progress might begin to undo itself and move backwards as one genre starts to control the musical landscape (like classical music did up until the late 1800s). Have a look at any official chart and you’ll see that there is a stark lack of  variety in the genres on show.

So is the future bleak for the other competing genres? In a short answer – yes. If the current movers and shakers of the music industry have their way and retain their iron grip on the charts, the hope of other alternative acts breaking through is minimal.

I know many people will talk about Simon Cowell in an article like this but one should have a lot of the respect in the way he has taken his chances and possibly revolutionised the music charts forever. The appeal and influence of The X Factor is phenomenal and 2010 conveyed how far the TV show has progressed since its birth in 2005 with JLS, Alexandra Burke, Diana Vickers, Olly Murs, Joe McElderry, Matt Cardle and Cheryl Cole all having number one hits.

That brings me onto the question of whether the public is being spoon-fed by music moguls  and producers or whether the songs we listen to are in fact ‘popular music’? Or should I say: where does the money lie?

After a fantastic feat of winning both British Breakthrough Act and Best Single (Pass Out) at this years Brit Awards, Tinie Tempah looks set for even bigger things. But has he always sung in such a style? This song was recorded in early 2005.

It’s the perfect example of how a young grime artist wasn’t getting the success he craved. Changing his style and image has turned him into one of the most sought-after ‘pop stars’ in the UK and who can blame him? His pop career has brought him fame and success which he could have only dreamed of when the above song was recorded. However, I’m sure he would have preferred his legacy to have been formed on his grime roots instead. But the case studies don’t stop there. Even the likes of Eminem and Snopp Dogg have collaborated with Rihanna and Katy Perry in an attempt to produce more number ones.

Tinie Tempah back in his MC days

So, what would be your answer if I asked you: When was the last time a rock song successfully topped the Official UK Singles Chart – (I warn you, it’s a difficult question)?

If you guessed that it was 14th September 2008 when the Kings of Leon went to number one with Sex On Fire… Then you’d be correct. An incredible 82 different singles have ‘graced’ the top of the charts since and pop doesn’t look like slowing up yet.

However, the one exception was Christmas 2009 when a Facebook campaign effectively managed to alter the charts by sending Killing In the Name by Rage Against the Machine to the top of the charts. The lyrics included in the song: ‘F**k you, I won’t do what you tell me’, seem to have more and more relevance as our radio stations continue churn out the same ‘pop’ drivel across the airwaves.

But is there really anyway we, the British public, can flee from this ‘pop’ monster? In a way I feel like the last of a generation where bands such as Oasis, Blur and U2 used to be leading the way. Younger teenagers are increasingly being brought up to listen to contemporary artists who come and go without leaving much impact or a proper legacy. The rise of music on television and an ever expanding celebrity culture show little promise of a change in this trend and it seems that the likes of Chipmunk, Ke$ha and the Glee Cast will continue to be the norm.

What’s your opinion on the UK’ top 40? Even if you’re a pop fan or not, please leave your comments below.

By Hugh Wolton

To find out more, follow me on Twitter @HughWolton or ‘Like’ echoblog on Facebook

It seems for a while now Indie music has managed to hold the lapdog position amongst the genres; critics (especially NME) seem happy to allow its shortcomings and proclaim new bands with messianic zeal. This does not quite make sense to me anymore.

Now, I am a survivor of the ‘indie bug’. Christ knows I was chain – listening to the Libertines as fast as Pete Doherty could inject himself. I bought NME – no, worse, I read NME. Every page. I did think Jack Steadman was the saviour.
It seems i found myself cured. The problem with indie was that, like so many waves of music to preceding it, it simply lacked originality. The whole genre could be condensed into a soup of The Strokes rip – offs and funny haircuts. It was not quite good enough for the most serious critics.
It was also too good for the listeners: most indie bands gladly gave the impression that anything mainstream was the devil’s juices, and so the genre found itself isolated from the people that, whether they liked it or not, should be the ones buying the music.
So, the upcoming demise of indie music is inevitable; the music is often bland and repetitive, and although there are one or two amazing bands to come out, they are diamonds in a dung heap, and few and far between. I think that perhaps this music may never reproduce; not only because of the ridiculously skinny jeans making it hard to do so.
Well, after my rehabilitation into normal music was over, I had to find something to keep my ears warm; it seems that some of the best music is completely unknown. Down a dark alley into the dank mires of the corners of iTunes, I found this:

Recurring by Bonobo. Somehow this artist can have his music downtempo and upbeat at the same time; he weaves together time signatures like a toothless Persian lady making a rug. And this isn’t all; it is the base of the mountain. I am currently climbing, collecting what seems to be mainly gold dust on the way up. Thievery Corporation, Nightmares on Wax, Diplo, Amon Tobin, Quantic… all different and unique yet similar, unheard of and lying dormant.
It annoys me, to know that this is unheard while certain indie bands proclaim themselves as champions of individuality, then use their guitars to churn out the same generic rubbish under a different name.

Why has Glee captured our imaginations so? Most articles look to the humanization of musicals like High School Musical, which essentially opened them to a wider market. But there’s clearly something else which is key to their success. Despite having premiered in America in only November of last year, it was quickly picked up by channel 4 and has now been showing in the UK since January.

The key behind the show is clearly in the musical numbers. The characters are stereotypical, albeit with a new sense of risqué, and contribute little to the show, particularly as the season draws to a close.

So just what have Fox done to make these songs so attractive? Primarily the combination of current chart successes, and major singers, and even huge classics serve to interest a huge audience made up of a wide-ranging group of people. “Every single possible musical style and taste is going to be in there,” says co-creator Brad Falchuk. “It doesn’t matter what you like — you’re going to find what you like and stuff you never heard of that you’ll love.”

But secondly the characters add something to each of the songs, because their parts tend to reflect their characters and make the songs crucial to their emotional development, something that Brad Falchuk stated in an interview. These experiences not only inspire the TV programme’s increasing viewership but also sales success for the original bands on a wide scale.

I really want to know what has made this TV show so successful. Does it really differ from other shows? What is so unique about it? Any comments and views would be greatly appreciated.

Marina and the Diamonds are white hot right now. You could be forgiven for thinking that with the lead singers’ radiant looks, she’s another American queen, but instead the mind-watering Marina is something entirely new. Despite being signed to big time records company Time Warner Music Group, Marina is bursting out with a whole new group, the Diamonds, as her backing, and guess what? That’s you. Taken from her surname Diamandis, Marina, a young Welsh girl, has made herself and the Diamonds’ songs into something much more than just a license to print money. Her songs hit back at the ranks of the very stars she’s just joined. She speaks to a generation of girls and boys who sold out for ‘kissing in the rain’ because ‘Hollywood infected your brain’ with the song ‘Hollywood’.

But her songs speak volumes more than that. She warns of being ‘loved for what you’re not’ and the dangers of seeming perfect, and not admitting you ‘have a weak spot’ in the song ‘I am not a robot’.  She speaks to everyone who is vulnerable, and tells them it’s okay to be human. There’s not a lot for advocating that lately. Everyone talks about immigration as if we’re not all the same thing at a base level. Everyone finds themselves unworthy and some give up because of it. And then of course, the American Dream is dead.

So we at Echo Blog, are siding with Marina and the Diamonds, and asking you to be a bit more human, to realise that no one’s ever going to be the absolute best at anything, but that life’s all about trying and caring, and that you don’t have to be a robot to get the best out of it, passion is more important.

Keep looking for more breaking artists and budding musicians, and tell us about them in the comment section below , or email : echoblog(@)rocketmail.com

Some useful Marina and the Diamonds Links

Her Youtube page : http://www.youtube.com/user/Marinaandthediamonds
The band website : http://www.marinaandthediamonds.com/ (Check out her blog, if you think she’s just another lame duck celebrity, or in her own words ‘some personality-less doll’)

Here it is. Today comes Goldfrapp’s fifth album, Head First. The queen of electropop has returned to the musical fray to take her crown back from the budding likes of La Roux and Little Boots in a wave of smooth and caramel sound.

And with this new album, it seems that the duo have moved away from the electro-folk of their fourth album, Seventh Tree. And although that was a reasonable success and showed diversity in their music it’s great to see them move back to their home territory. Indeed, the old vibe from before Seventh remains in this duo’s fifth album; the same sweeping synths offer a good contrast to the edgier sounds of the more recent artists while Alison Goldfrapp’s glossy voice still generates the euphoric feeling of pouring warm honey in your ears, but without the stickiness. The shiny, warm feeling has overall remained intact; perhaps magnified, especially in the song Shiny and Warm. On top of this ambiance, Goldfrapp’s signature electro has an added ‘view-of-the-future-from-a-50’s-comic-book’ feel to it which is nothing but beneficial to her music.

However, it seems that they cannot quite get away with the same old routine this time; the impression given by the sudden change back to the old styles is one of retreat. Goldfrapp now seems content with following where she once led; instead of retaking her throne as queen of electro, she instead plays a game of catch – up with the newer Gagas and Little Boots that once saw her as an influence. She has not only withdrawn too far into her comfort zone, but also seems to emulate the 80’s reincarnation that so many artists have done in the previous year.

There is also a sense of half – hearted song writing, with slightly clichéd lyrics and simple choruses that reek of indifference in the writing process. Some parts feel sellotaped together, others do not build up to quite the crescendo desired, and parts seem repetitive. This all gives the impression that the duo were somewhat reluctant in making a fifth album, wanting it done as soon as possible. So, the end result can sound like a cheesy 80’s workout track that would perhaps be best suited to Bums & Tums on a Thursday afternoon.

Although an album that seems a disappointment on the whole, it’s still very audible and includes some good songs. However, those low on money and who haven’t heard her music before should head to the dusty corner of the record store and buy her humble beginnings at Felt Mountain.

Minimalist music is some of the best around, some incredible artists, an example being The Kills (not the Killers), although the music is simplistic it doesn’t remove the pleasure of listening. It steers well clear of overloading your brain with noise. I’m a strong believer in branching out musical taste, for the simple reason that different times in your life or just your day require a different soundtrack. If you’re depressed you’re unlikely to want to listen to “Shiny Happy People”!

Minimalist music may not be suitable for the dancefloor, but just relaxing and reading a book or working. The genre can be a perfect soundtrack to a rainy depressing day, because let’s be honest, everyone enjoys being a bit depressed. Wallowing all day in self pity, maybe self loathing, but thats only the unlucky ones.

Recently a minimalist band have entered the scene, a young fresh group who love dressing in black and are entirely unattractive. But if music was the food of love, everyone would be demanding orgies from them. I am of course referring to the XX. A definite listen, entirely down to earth, none of that “we’re a scintillating band filled with simplicity and yet with complicated harmonies” crap.

The artists you have to hear: The Velvet Underground, The Kills, The XX. Yes there are more, alot more but these on the ones i love. I don’t know whether to describe The Pixies as minimalist but listen to them anyway.

All niggling and debating aside, the world is divided: Those who succeed in life, and those who don’t. Those who make the cut, and those who fall short. Because let’s be honest, try as they might, the people who work the hardest, or study the most, or put in the most effort, may still not get their desired result.
The ‘dog-eat-dog’ world of competitiveness consumes people’s ambitions to succeed, and the sorry fact for many is that they are forgotten ‘into the dustbin of history’.
So you may be thinking, where the hell is he going with this?
Well the answer is, Foals. On the 8th of April 2008, a bunch of student dropouts released a record that was self-described as ‘ballet with beats.’ The result was ‘Antidotes’. For myself and many others, this record was an escape from reality. A symphony of jagged beats and entrancing melodies that combined absolute simplicity with painstaking complexity. If you look up the guitar riffs, for example those in ‘Olympic Airways’, you will find that even the budding musicians, who struggle to hold an instrument without dropping it, will find it’s not rocket science.

Those guys succeeded, and with a bit of luck, some hard work, and some funky guitar riffs, they burst onto the scene. But with the cliché, ‘NME: rise to fame’ image aside, let me bring you to a figure who is perhaps more vivid in your memories.
Joe McElderry’s sudden rise to fame, due to the recent ‘talent’ show, ‘The X factor’ prompted many talking points over the past few months. Was this a singing show or was it a talent show? Did this show push weak-minded starlets into the limelight, without a proper grasp of fame?
Joe was able to answer the first question with a 5 second C major, which resounded around the studio in his final performance of ‘The Climb’.
Joe proved that the second question could be overcome, but should his single really have been catapulted into the charts as easily as it was? He may have got the public vote, but were these transfixed members of the public spoon-fed Simon Cowell and Joe’s success? Well I’m afraid I don’t have any rigorous views to share on either of these questions (cough), but Joe’s success does bring to light the niche in the market. With careful and precise techniques, Cowell, his production company SyCo, and ITV have created an image which the public were ‘gently’ obliged to love and subsequently purchase.
So did he make the cut, or did he fall short? Well he made his own luck when he signed up to be a contestant and he knew that he had talent. But how do his musical efforts compare to those of ‘Foals’ who started from nothing and became something? Joe was already propelled into being ‘something’ in his first auditions and his originality has not yet sprouted, so only time will tell…

Glasto, the O2, Wireless, V, all these names were, in the 90s, either unheard of or synonymous with audiophiles or hippies (well, maybe not Glastonbury, but anyway…). The Noughties, however, has seen the dawn of a new generation of music listeners: the face of the music industry is changing rapidly, from an album and single sales driven market to one whose crucial revenue stream lies in live events.

Glastonbury becomes ever more popular with the young.

While the music world may have felt cardio palpitations as illegal downloads grew unstoppably during the noughties and the laws on new media changed to punish the invisible, endless streams of music downloading, sharing, “.com” teens, the music industry has now changed entirely. Rather than worrying about selling music and stopping illegal downloads, the industry has instead realised that the very demographic who download the music illegally also beg, scrounge and save to buy incredibly expensive music festival tickets.

While 100% of British teens surveyed by the Beeb said they would not pay anything to download their one favourite track on their iPods, Glastonbury and V Festival tickets sell out in minutes for over £30 a pop, often much much more, and the record labels and the industry capitalise further on the event revenue streams by using super-size advertising campaigns targeted at the young at these festivals.

Radiohead offered their album for as little as...nothing!

The proof, as they say, is in the pudding. Undoubtedly, festivals are far more popular and accessible than ever before, but the more open approach to downloading music is also evident. The recent Facebook campaign to Get Rage Against the Machine’s symbolic ‘Killing in the Name’ to the top of the charts proved that Britain is reacting to manufactured music and the industry. The artists themselves are also appreciating the importance of targeting their tracks at the young: last year Radiohead allowed their album to be downloaded from their website for ‘whatever price the listener thought fair’. Itunes too is coming to realise the power of free digital music: the free download of the week is popular, while the “12 Days of Christmas” feature on the store that allows one free download for every day of Christmas has this year taken off and is being used by vast swathes of account holders.

I for one am a great believer in keeping music downloads legal: I stray away from illegal downloads not because I fear retribution but because at the end of the day, some money will reach the artists’ pockets if you pay. More important, however, are the feelings of the youth of Great Britain. Watching an event on TV or YouTube is simply not the same as the buzz of a live performance, and as more and more realise this, so do we, the youth of GB, mould the face of our music industry. Keep music downloads legal, but bravo to free downloads and live performances.

As we all know, nobody watches TV on TV anymore, and so I now don’t have to struggle through The X-Factor to watch my ITV movie on Saturday night. That said, just because I don’t watch the show it doesn’t mean I can’t chastise it.

The X-Factor follows a basic form of franchising. Like a movie studio, it receives lots of offers per year, chooses the best act and subsequently invests heavily in the idea. With studios it’s a big budget film, with X-Factor winners it’s a cover of an established song. Hopefully the act will be a success, whereby they will then follow a well-established marketing plan to make as much money as possible. For studios it’s sequels, action figures, theme park rides and so on. And, for The X-factor winners, it’s a bargain bin album, autobiography and an E4 documentary entitled Leona: a life before fame, or something equally banal. Clearly this is damaging the music industry as the success of these pop puppets detracts from other more credible bands and garners copycats, thus fuelling the Britpop fire. It has a similiar effect on the television industry and , for as long as the show remains this popular, ITV will never cancel it, thus stifling any more worthy or creative shows that could go on in its place.

And so i think we should bring the show down ourselves. The easiest way to do this would be a complete boycott of all things X-Factor, including past winners. As everyone knows knows, nothing destroys democracy like apathy, and The X-Factor is essentially just a big public vote. And so just like our attitude towards voting in elections if we all abstain it shouldn’t take long for the powers that be to get the message, and force the JLSs of this world to take their rightful place alongside Steve Brookstein, Chico Slimani and Journey South sining live on P&O ferries. A member of gossip website Digitalspy.com summed it up perfectly: “either The X-Factor singers are pop puppets, do what they’re told and deserve to fade away, or they actually choose the songs they release and so deserve to fade away. Simples.”

By Max Wagner

Mike Alexander, bassist of Huddersfield new thrash band Evile, passed away on October 5th. He was taken ill while on tour in Sweden, and died shortly after. The cause of death is currently uncertain.

Evile’s debut album Enter the Grave,  produced by Fleming Rassmussen of  Master of Puppets fame, led them to become rising stars in the new wave of thrash metal, drawing inspiration from classic bands such as Megadeth, Metallica, Anthrax and Slayer. They recently released their sophomore album, Infected Nations.

Members Matt Drake, Ol Drake and Ben Carter released the following statement on the band website:

“This is so hard to find the words to express fully how we feel. We can’t believe or accept what’s happened. One minute we’re talking to our buddy, Mike, the next minute we can never speak to him again.

There’s so many things rushing through our heads that we want to say, do and feel. We half expect him to come round the corner and call us ‘dickheads’. We can’t get our heads around it.

It upsets us so much that he was away from his family when this happened, although knowing Mike, we’re at least glad he was on tour doing what he loves.

We’re lost for words. We all miss him so much already. He was such a headstrong, genuinely nice guy who loved music and his family. We’ve got so many brilliant memories with him.

Our hearts go out to his daughter, family and friends at this tragic, difficult time.

Mike is much loved and is sorely missed.

Rest in peace, brother.”

It is unknown what the band plans for the future.