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Alice Milburn - ‘Not Yours’ Single Review

/ By Doug Phillips
Alice Milburn - ‘Not Yours’ Single Review

Alice Milburn continues to perfect her innovative blend of glossy jazz chords with empowering upbeat pop with the new and improved version of 2019’s ‘Not Yours’. 

Alice has only just begun to expand on a variety of Jeeni’s channels, including but not limited to: jazz, pop, indie and lounge. Fresh, new talent is what powers Jeeni and with artists such as Alice, Jeeni couldn’t wish for much better fuel for our mission of uplifting and supporting unrepresented artists. Check out Alice’s young and expanding showcase on Jeeni here.

On this redesign of ‘Not Yours’, Alice displays her flexible and adaptable comprehension of musicality clearer than ever. The willingness to broaden both the understanding of jazz and pop whilst also incorporating rock elements without resulting in a confusing mess of a composition is an absolute feat. Alice’s attitude to music is totally refreshing and it’s more often the attitude and approach to creation that separates the greats from the rest, not just superb musicianship. 

Immediately, this re-telling of Alice’s popular 2019 single holds more atmosphere and impact than its predecessor. The guitar cuts through so much cleaner thanks to less muddy settings on both the amp and after effects during the mixing process. And this fresher, more attentive approach isn’t limited to just the guitar parts; the bass guides the harmony much more seamlessly, the drums snap harder and as a result of these perfected parts, Alice’s soulful, impassioned vocals sit in this new arrangement so much nicer. Her voice is never drowned out, overshadowed or squashed, although the guitar solo certainly takes its fair portion of the limelight, and rightly so. 

Another key improvement can be found in the addition of the horn parts. Tasteful trumpets can be heard reinforcing the chords in the choruses and do so well to glimmer and shine up the composition’s instrumentation. The key difference between the 2019 version and the new 2022 version is the brightness and rejuvenation in the tone of the track and not much brightens up a mix as well as horns. A live performance where the horn parts get their own moment to solo and shine would surely be breathtaking. 

It could possibly be argued that a song about a romantic betrayal shouldn’t be so bright and that maybe the first, slightly darker version is more apt for heartbreak, however this song is more empowering than it is hopeless. The title itself, ‘Not Yours’ is a triumphant announcement that Alice can’t be owned or manipulated, especially not anymore. 

It’s not always easy to perhaps acknowledge that a previously released track could be realised and finished in a more polished way, however Alice is the type of artist to take that brave step in improving her sound and raising the standard of her craft up another notch. Check out more of Alice Milburn’s fantastic work here

05
Jun

Can Twitch ‘Change the Economics’ for Artists?

Why channel subscriptions and “tipping” on the Amazon-owned platform could open up a significant new revenue stream for artists in the future. ByTim Ingham The explosion of music live-streaming during lockdown means most of the music business is now au fait with Twitch, but just for the newcomers: Twitch is an online platform that allows “creators” to host live video channels on its service. Fans can subscribe to these channels for three distinct price points: $4.99 a month, $9.99 a month, or $24.99 per month. Viewers of a channel can also tip (“Cheer”) creators using the platform’s fake money (Bits) that, obviously, actually costs real money ($1.40 for 100 Bits). Revenue paid for those subscriptions is split 50/50 (minus tax and processing fees) between Twitch and the creator, while the money fans Cheer is split approximately 70/30 in favor of the creator. A less-than-well-known fact: If you’re an Amazon Prime member, you can opt-in to Twitch Prime, which then supplies you with a cost-free subscription to any Twitch channel of your choosing. Or to put it another way: If an artist you love has a channel on Twitch, opting in to Twitch Prime allows you to pay them $2.50 per month, out of your existing Amazon Prime membership. Quarantine has brought more musicians flocking to Twitch than ever before, including the likes of Charlie Puth, Diplo and John Legend — who all appeared on Twitch’s Stream Aid in March to raise money for the COVID-19 Solidarity Response Fund. Twitch avoids the problematic “begging bowl” undertone that can plague artists on other direct subscription services like Patreon by offering fans something in return — an exclusive, interactive live video experience — that Olson believes has an immediate premium value in the mind of the audience. Twitch comments: “Ultimately the future of entertainment is live, interactive and community driven. It’s where anyone can play a role in creating a moment, and where the audience likes to participate and actually engage in the entertainment.” Twitch is particularly enthused about the idea of Gifted Subs, which enable someone to buy another fan of a Creator a subscription to their channel. “If you want to demonstrate your fandom and support an artist, right now there’s only so much you can pay for that Spotify subscription, only so much you can pay for a meet-and-greet, only so much you can pay for merchandise. We take the top off; you could contribute as many gift subscriptions as you want for that artist, you can Cheer as many Bits as you want for that artist.” Facebook Live and YouTube have presented their fair share of popular artist-to-camera performances of late, while Instagram has hosted arguably music’s most memorable recent live-stream series, the Verzuz battles (including RZA vs. DJ Premier, Swizz Beats vs. Timbaland, Babyface vs. Teddy Riley, and Erykah Badu vs. Jill Scott). Facebook last month announced that it will soon introduce the ability for live-streamers to charge fans for access to “events,” but made no mention of matching Twitch’s direct subscription offering. Twitch argues that its monetization options, which also include ad revenue sharing tools, set it apart from rival platforms. Even when physical venues are back to full strength, Twitch believes it will establish itself as a significant way for artists to generate money outside of their recorded music catalog, their publishing catalog and their ticketed live appearances. “We know artists make the vast majority of their take home revenue from live events, and we believe Twitch can be additive to that. Where it gets interesting is when you start to think about things you can do in a digital world that you couldn’t do in the [live] space. You couldn’t allow millions of fans into an intimate setting during a creative session, or [hold] an Ask Me Anything kind of Q&A roundtable. That feeling of VIP access is something we’re seeing a lot of artists leverage.” DJ/producer Illenium and rapper T-Pain,  have both recently invited their Twitch fanbase to contribute to writing sessions, via the service’s in-built chat mechanic. It is certainly early days for Twitch as a significant player in music. According to one recent report, Twitch welcomed 17 million hours of watch-time on “Music & Performing Arts” channels in April, up 385% year-on-year; but that 17 million figure made up just 1% of total viewing hours on Twitch in the month, dwarfed by the hundreds of hours of watch-time on video games-related channels. Another big challenge: Prominent songwriter and music publisher advocates have voiced concern over elements of Twitch’s licensing. David Israelite, CEO of the National Music Publishers Association, the D.C-based body that is currently threatening to sue TikTok for an alleged lack of licensing, says: “While some portions of Twitch’s platform are licensed properly, there are other large segments that contain massive infringement of musical works and it is disappointing Twitch does not do more to license its content properly. All social media sites and digital streaming services need to realize that music has value.” Twitch’s in-built karaoke service for its Creators, Twitch Sings, has been licensed by over 180 music publishers worldwide. “We have been working very directly with rights-holders as music evolves on Twitch.” However many artists Twitch attracts to its platform in future — and however many music licensing deals it signs — the company is clearly making an effort to establish its name in music circles during the current COVID-hit period. Twitch recently built a music directory that Olson says was “a real investment for us as a company”, and also launched a dedicated on-boarding area for artists. Tim Ingham is the founder and publisher of Music Business Worldwide, which has serviced the global industry with news, analysis, and jobs since 2015. He writes a weekly column for Rolling Stone. Here at Jeeni HQ, we think that Tim is a brilliant writer and clearly knows his stuff so we will be curating his work for all our members. #jeeni #unsigned #musicians #performers #timingham #musicbusinessworldwide #twitch

05
Jun

MD of Jeeni USA has been honoured as one of the “Top 100 Women of Influence”.

The woman who brought digital entertainment to the world is set to become MD of Jeeni USA. Kelli Richards is based in Cupertino, California, where the mighty Apple Corporation has its headquarters, and where she is honoured as one of the “Top 100 Women of Influence.” An Amazon Number One best-Selling author, and former A&R executive with EMI Music, Kelli played a key role in launching the entertainment division of Silicon Graphics. She’s celebrated as a digital media trailblazer and was responsible for launching Apple’s entry into music and entertainment during her many years with the company. In other words, Kelli Richards was directly responsible for the birth of digital entertainment and global music online, now known as Apple Music. Jeeni founder Mel Croucher worked with Kelli on projects for superstars like Eminem and Prince, and it seemed a perfect fit for Mel to invite her to represent Jeeni in the USA. “I was privileged to have been mentored by the legendary Steve Jobs over a period of several decades,” says Kelli. “I work on cool projects with cool people, and Jeeni is very, very cool.” Kelli Richards at Jeeni-USA HQ Keen to find out more about Jeeni, check out our new website www.jeeni.com

10
Mar

Daisy Chute – 'Songs of Solace' EP Review

Multifaceted singer/songwriter, Daisy Chute’s newest project, ‘Songs of Solace’ is a warm, comforting collection of acoustic music, powered by sentiment and emotive memories.  According to Daisy, The EP walks the listener through the "beginning, middle and end of a relationship”. Cleverly, the EP acts not only as a narrative describing the need for solace during a relationship, but also as the solace itself.   The tone and style of ‘Songs of Solace’ couldn’t have been timed better. The soothing instrumentation found in the twinkling guitars, legato strings and tender vocals provide unmistakably autumnal compositions. The burgeoning seasonal blues also coincides well to the comfort that many could find in this project right now.  The opening track, ‘Secondhand Heart’ acts as an almost sorrowful prelude to the story Daisy is about to tell, like something you might see at a play to set the audience up for the tragedy they’re about to experience. It’s one of the most effective introductions I’ve ever heard in such a short project.  Another highlight on the project is the inviting ‘I’ll Drink for You’ which subtly reveals Daisy’s classical background in music theory and understanding as the melodies and rhythms leap and pause around in unexpected yet totally satisfying and accessible ways. I hope Daisy isn’t sick of hearing the comparison but folk legend Joni Mitchell can’t help but come to mind when Daisy demonstrates her brilliant range in pitch as she does on this track.  ‘Meet In The Middle’ holds a certain delicacy and familiarity reminiscent of Laura Marling’s ‘Song For Our Daughter’ album from last year. As a matter of fact, Marling could do with taking a page out of Daisy’s book in terms of expanding her instrumentation. The track ends the project in a similar yet more optimistic tone to the introductory track, ‘Secondhand Heart’. The track swells and features the full band before fizzling out with a spacey hum of the instruments.  Perfectly produced, each component shines together to make a well-rounded and polished example of modern indie folk. If you need some warmth this Autumn, Daisy Chute’s ‘Songs of Solace’ is out now.  How can Jeeni support artists like Daisy Chute?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.   • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.  • We empower our audience and reward them every step of the way.  • We promise to treat our members ethically, fairly, honestly and with respect.  • Access to artist liaison and a supportive marketing team  Check out Daisy Chute’s page on Jeeni: https://jeeni.com/?s=daisy+chute