Daisy Chute, ‘Cradle Songs’, EP review

Jeeni Blog

Helping the next generation of talent to build a global fanbase

Daisy Chute, ‘Cradle Songs’, EP review

Daisy Chute’s newest EP consists of three sonic fairytales, crafted with swelling strings, twinkling percussion and her bewitching vocals.

Daisy has been an important and keen part of Jeeni by creating and uploading her incredible tracks to Jeeni's folk channel. She was also a key part of Jeeni's artist partnership programme alongside Arianna May. Check out Daisy's showcase here: https://jeeni.com/showcase/daisy-chute/

The opening track, ‘Cradle Song’ is a theatrical piece which expresses an implacable feeling of uneasiness. This tempting and crafty opener is intentionally overcompensated with syrupy amounts of serenity and reassurance as an attempt to calm and lull the listener, “Now, hush”.

The near-sinister nature of this track is thanks to the dark guitar notes, rumbling bass and sultry vocals from Daisy that coaxes you further into something that you just might not be able to back out of. Daisy’s voice here utilises the non-sensical melodies heard in the oldest of lullabies and folktales in a hypnotic repetition, which further pushes the feeling of being enticed and convinced. This track creeps along slowly and regularly, like a rocking cot and totally succeeds in lulling the listener to concede to a peaceful, warm state, despite its dark character.

Contrary to its name, ‘Melancholy Air’ feels much more sincere and warm than the first track, due to the flittering strings, traditional folk percussion and uplifting plucked string instruments. The piece is medieval and traditional, but brought together and realised in a way that could only be done now. The atmosphere and space given to each instrument is reminiscent of the delicate and sparkly quality that Thomas Newman gives to his motion picture scores such as ‘American Beauty’ and ‘Finding Nemo’. This cinematic essence could be what inspired Daisy to include an instrumental version of the track, focused purely on the orchestral impact and story-telling.

The final track, ‘Mary’s Song’ has all of the charm and sentiment of a typical dedicated piece. This is because the arrangement is formed around a specific person and the emotions that that person evokes. As a result, the piece is interwoven with feeling in each instrument and note. Daisy’s capabilities for writing sweet, gliding melodies are utterly enchanting and are showcased quintessentially throughout this dream-like project.

Check out Daisy Chute's Jeeni showcase here: https://jeeni.com/showcase/daisy-chute/

Follow Daisy on social media:

Facebook: https://www.facebook.com/daisychuteofficial

Instagram: https://www.instagram.com/daisychuteofficial/

Twitter: https://twitter.com/daisychute

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.

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05
Jun

How to Build Your Own Playlist

In our previous blog called, "Top Ten Tips on How to Promote your Music Independently" http://bit.ly/2W2nCJ5 we suggested you get yourself PLAYLISTED. Maybe we should have said, Build your own Playlist and then get yourself Playlisted. So what is the difference? Building your own PLAYLIST is an easy way to boost the promotion of your own music, so why not give it a go. The video is 3 minutes long so I have taken the highlight. (Approx. 60 second read time) Start by creating your own public playlist filled with great music, and include your own tracks too. With a small amount of work you you could get a few hundred followers, it'll still help your chance of landing on other, bigger playlists. With a lot of work and fun, you could build your playlist to have thousands or even millions of followers over time. Discover Weekly algorithm takes EVERY playlist into account, no matter how small. The algorithms behind Discover Weekly find users who have built playlists featuring the songs and artists you love. It then goes through songs that a number of your kindred spirits have added to playlists but you haven't heard, knowing there is a good chance you might like them too.Ideally, you want to be uploading & submitting your tracks to playlists weeks in advance of your release. For example Spotify alone get 20,000 new tracks every day. Make sure you get your tags rights so you can be featured automatically and help the editors find you. No guarantee, but you need to start somewhere. Share your music on your own social media platforms to get on a playlist, stay on a playlist and grow your fanbase. Drive traffic from off platform, that means share your links everywhere. Post them on your socials, website and other channels. You can only submit one track per release, so if you're releasing an album or an EP, have a good think about which track is most likely to get picked by a playlist. Pitch your music to independent curators, if you are not sure how to do this, keep a eye out for our next blog. Try not to disheartened if you do not get thousands of followers straightaway, keep choosing music you love and keep adding to your playlist, be true to yourself, only add your favorite tracks and have some fun. Check out our new community of facebook, called: Unsigned Artist Community and join today. http://bit.ly/2Q45ri8 https://vimeo.com/396927442

06
Jun

Never too late for Jeeni!

by Mel Croucher I was a young man living in Stockholm. It was the summer of 1969 and I was flat broke. I had the clothes I stood up in, a diploma in architecture and a kazoo. I was too shy to be a busker, so I invented pay-on-demand live-streamed entertainment. I became a human jukebox. I got me an abandoned cardboard box just about big enough to hide inside, and I cut a horizontal slot near the top for my media input/output. Below the slot I punched eight holes to act as the graphic user interface. The reason there were eight holes was because I only knew eight songs, and I scrawled the song title alongside each hole. The idea was for passers-by to provide me with digital input commands by sticking their finger through the hole of their choice, and I would give them a short rendition of the selected song on my kazoo. As a token of their appreciation they would reward me with loose change dropped through a small vertical slot labelled Thank You in English and Swedish. It was very hot squatting inside that box. So here we are, more than half a century later, and the music industry should be in crisis. As a result of the pandemic, artists and musicians have seen their venues close down, festivals cancelled, tours abandoned, and wary audiences slink off to go online. The new normal for live performers should be that they are well and truly buggered. But I am delighted to say the very opposite is true. The new normal has revealed that the traditional models for the entertainment industry were a hoax. All those record labels, agents, managers, ticketers and merchandisers were a bunch of parasites. Half a century later, the new generation doesn't even need a kazoo and cardboard box to squat in for a live performance. They've got smartphones. And they don't need to rely on passers-by to busk at. They've got a global audience, thanks to utilities like Soundcloud, Tidal and Jeeni. Even on Facebook we have the facility for interminable live broadcasts of self-indulgent shite from the box-room. And I'm not just talking about singers and musicians. The same applies to actors, dancers, poets, voiceovers and kazoo virtuosos. There are more independent artists than ever before who have been able to break into the mainstream without any support from a lousy label, a poncy publisher, a suffocating sponsor, mingy manager or arrogant agent. This is an entertainment revolution, where digital distribution, streaming platforms, social media and online marketing tools have changed the way artists perform their work and reach out to fans. By cutting out all the spongers, an independent artist can suddenly enjoy a number of important advantages. To me, the most important is that they now have 100% complete control over the direction of their music, spoken word and creative work. They also have full control over distribution, marketing, artwork, merchandising, deadlines, gigs, ticketing, prices, schedules - in fact all of those affirmative decisions about their creative vision. But it's not just about control. The new normal means that independent artists can keep 100% of all the profits generated from sales, streams, licencing deals, merchandise, and small change dropped through cardboard slots. The reason they can do this is because without the parasites they own all their own stuff. Independent artists own the master rights to their creative work, which means they also have the freedom to negotiate licensing, streaming and publishing deals, and they don’t have to worry about shyster contracts, expensive lawyers, and signing over their rights. Of course the parasites are not going to give up without a fight. Book agents, publishers, distributors and publicists are still clinging on, years after it became obvious that nobody really needs them now that anyone can self-publish in the digital age. In the music and entertainment industry the leeches will still argue that they are vital, even though they already know they are dead. They will keep trying to treat artists like idiots and tell them they don't have the money for mastering, or production or touring or merchandise. Which is a lie, because if artists don't have to pay the leeches then they will save the money. Artists will also be told that they have a limited network of fans and contacts, whereas organisations and labels have access to big fat fanbases and red hot connections with professionals, promoters, booking agents and media. This is an even bigger lie, demonstrated by the fact that even a no-hoper musician like me has a Facebook network big enough to fill The Royal Albert Hall, including the bogs, with or without social distancing. The biggest problem I can foresee in this brave new world of independent entertainment is lack of discipline. Put simply, if creatives were once prepared to rely on a bunch of parasites and leeches, they must now learn to rely on themselves, and that involves actually getting down to some hard work and doing stuff, irrespective of whether or not they have oodles of native talent. Desperation and hunger is an excellent motivator, so I invite the independent artists and performers of the new normal to get hold of their own electronic cardboard box and give it a go. And above all, don't forget to have fun while you're about it. Mel Croucher is the founder of the UK videogames industry, and writer of the most widely-read, longest-running column in computer journalism. He is the founder director of Jeeni and owns a black T-shirt. Click HERE to visit or return to jeeni.com

10
Dec

Deadline for Kickstart Employment Opportunity set for December the 17th

The governmental Kickstart scheme was introduced by Rishi Sunak as a response to covid-19 and the difficulty it created in employment for young people. Since its implementation last September, the initiative has boosted the careers of over 100,000 young people in the UK (figure from November, 2021). This scheme has revolutionised the way young people find their passion, career and purpose in a time when they need it most. That's why Jeeni is so proud to be making good use of the Kickstart scheme to train, support and build the portfolios of people aged 16-24 and on universal credit. Available only on or before the 17th of December, 2021, here's why you can't afford not to take this opportunity. The Kickstart scheme is invaluable for both employers and employees, because companies can build a workforce at no cost to them, and young people get paid positions in the industry of their passion. The Government provides the grants to cover 100% of wages and national insurance contributions for well-qualified, pre-screened young workers on universal credit. The positions span across 6 months for up to 25 hours work a week and you receive a £1,500 cash injection into your business for each new person you take on with Kickstart. Find out more about universal credit here: https://www.gov.uk/universal-credit Although the governmental Kickstart scheme itself provides this crucial helping hand for companies and graduates, websites like Gradfuel are vital in guiding those graduates to the perfect Kickstart role for their careers. Gradfuel is a mediator between the Kickstart scheme and those it was designed to help. They provide an interpersonal and proactive connection to young people looking for a career path and “matches you with the perfect graduate jobs”. The pool of possibilities after education can seem endless and overwhelming, so a company like Gradfuel that takes you by the hand and leads you to a company that needs you as much as you need them is an extraordinarily valuable service. Gradfuel has a 97% success rate for Kickstart applications and each one will earn over £7,500 across their 6-month placement. They have over 65,000 young people in their database and have raised £18.3 million in grant funding. Happy customers such as friend-finding app, ‘Fethr’ have praised Gradfuel’s usefulness and outreach saying, “The learnings from Gradfuel and their expertise around the scheme, has saved us a lot of time, as they have thousands of candidates they’re engaged with and have really found their groove in attracting talent”. Dating app, ‘Thursday’ have also expressed their satisfaction with Gradfuel’s connection between the Kickstart scheme and young people, “Gradfuel are brilliant, they've helped us source all our young talent, from anything to data analysts to marketers, we've been very impressed.” Visit: https://grants.gradfuel.co/direct-applications/ to find out more about Gradfuel and to sign up. Remember, the registration deadline is on December the 17th, 2021. Jeeni can personally attest to the effectiveness and value of using the Kickstart scheme through Gradfuel. Zak Ahmed, Jeeni’s HR specialist had this to say about the opportunity, "The Kickstart Scheme has helped me gain the vital experience I need as a recent Masters graduate. I've found a very meaningful role here at Jeeni, where I'm progressing quicker than I could've imagined!". Ella Venvell used Gradfuel to find her Kickstart position as Jeeni’s Artist Liaison and Marketing Leader, “The kickstart scheme has given me an invaluable experience which has helped me learn about the professional world as well as given me the time to develop myself and my portfolio.” and with regards to Gradfuel, Ella said that it’s “helped me find a job doing what I love, and am hoping to do as my lifetime career." In many ways, the Kickstart scheme is the lifeblood of Jeeni; it’s the reason we can support up-and-coming artists, it’s the reason we can provide an invaluable service for viewers to discover new talent and it’s the reason you can read about it all, right now. Check out some of the Inside Stories carried out by Jeeni's own Kickstart employees: https://jeeni.com/?s=inside+story If this interests you either as a company or a potential employee, act fast as the registration deadline for the Kickstart scheme is on December the 17th. Follow: https://grants.gradfuel.co/direct-applications/ to sign up now or learn more about gradfuel and the Kickstart scheme.

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