Jeeni Blog

Helping the next generation of talent to build a global fanbase

Mel Croucher - Multimedia Entertainment - Ahead of his Time.

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Mel Croucher - Multimedia Entertainment - Ahead of his Time.

Today, Jeeni has returned to Crowdcube to raise more funds for helping new talent. Jeeni founding director Mel Croucher says, “I admit we're ahead of our original schedule, but there's still so much more to do. We need to scale our online platform globally now and build our mass artist showcases. Then we can hit all our targets, and give our new artists the recognition they deserve.” If you want to see our pitch click HERE.

Mel has been writing the best-loved column in top-selling tech magazines for over 30 years. Now he's agreed to share his work with all our members. He's a video games pioneer and musician, and to to find out more about Mel check out his Wikipedia page. https://en.wikipedia.org/wiki/Mel_Croucher. Here's one of Mel's latest!

I produced my first multi-media entertainment at the age of eight. It was a birthday gift for my mum. I called it Smellyvision. TV sets had begun to appear in the cleaner homes down my street, but my family was still years away from owning one of those magic boxes with their nine-inch screens. So I made my own. I took a cardboard box and cut a porthole in it, and used my mum's crank-handle mangle to scroll up the storyline that I drew on the reverse of a yard of wallpaper. The soundtrack lasted just under three minutes, which determined the length of my entertainment. It was a recording by the singing cowboy Roy Rogers, played on a shellac disc that spun at 78 revolutions a minute, also driven by a manual crank. But the best bits of my Smellyvision show were the different pongs that accompanied each segment of the story. I can still feel the sting of my mum's flattened hand because I had used her special perfume to enhance the production. The scent was called Evening In Paris, and had been maturing in a little blue bottle too precious to use since the 1930s. I sourced the smell of horses after the coalman's wagon had passed by, and that didn't go down well with my mum either. But how can you have a multimedia show about cowgirls and cowboys without perfume and horseshit?

Capcom had exactly the same idea for their videogame Resident Evil 7, and I was not in the least surprised to discover that it too was horseshit. It was marketed as a "4D candle smelling of old timber and blood", with the brand name Blood, Sweat And Fears, and a burning time of 18 hours. The idea was to fire up the stinking candle to enhance gameplay, having handed over fifteen dollars for the privilege. As I have already said, it was crap, unless of course you managed to knock over the candle during your gaming frenzy, and emulate the zombies in the game by setting fire to your face.

It wasn’t the first time that Resident Evil had been used to extort money for idiotic multimedia ideas. Back in 2005, there was a crummy accessory for the Nintendo Game Cube device called the Resident Evil 4 Chainsaw Controller. It was nothing more than a standard Game Cube handset with a vibrator unit and a "realistic chainsaw roar", that sounded like a wasp trapped in a jam jar. But gamers seemed to be willing to lay out fifty dollars for the privilege of acting like dorks, so what do I know. In fact Nintendo are serial abusers when it comes to dopey add-ons. Who can forget their Super Scope wireless light gun? Well, just about everybody, it turns out. It was a truly dreadful lump of overpriced plastic that only worked with a handful of games, and devoured AA batteries at the rate of six every four hours. And how about the Nintendo Power Pad which cost anything up to two hundred bucks way back in the 1980s. This was nothing more than a little shiny mat with a dozen or so pressure sensors in it. The idea was to jump around its red and blue squishy bits in order to trigger actions during video gameplay, and break your ankles in doing so. That's why most players resorted to cheating, by going down on all fours and using their fists to bash it into submission,

My favourite Nintendo multimedia device is the DK Bongo. It's a totally stupid pair of miniature bongo drums, which suits me just fine. There's a built-in microphone to monitor my bongo-playing skills, and help track my progress as I play along to some of the worst music tracks in recorded history. To be honest, it works just as well if I clap my hands or produce fart noises, but sometimes honesty is not the best policy. After years of misuse, my DK Bongo still works fine and gives me innocent pleasure. Which brings me back to Resident Evil.

Since its launch, the Resident Evil series has generated just over one billion dollars, making it the most profitable videogame spin-off in history. The only reward I ever got for my Smellyvision efforts was a sore arse. But I have never claimed to be a profiteer in these matters, only that when it comes to multi-media innovation I have always been way ahead of my time.

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19
Jan

Artist Focus: Respite

This compelling five-piece formed from an amalgamation of previous bands, mindsets and connections and arose in 2020 as a formidable and commanding alt-rock/pop-punk force known newly as ‘Respite’.   Respite joined forces with Jeeni earlier this year and since then, Jeeni has been hard at work trying to elevate, uplift and support this fantastic group by providing an ethical worldwide platform for their hard-hitting and refreshing craft. Respite is: Andrew Vaughan & Euan Macqueen as guitarists, Ross Crawford on the bass, Reiss Mcleod on the drums and Sam Nicholson on the vocals.  Hailing from Glasgow, the group once known as ‘Finding Argyle’ committed to a brave yet necessary brand change as their sound and creative habits organically shifted and evolved over the major lockdown in 2020. The group formed as the five-piece they’re known as now back in 2015 as a result of recurring opportunities and coincidences and so, the band’s current synergy took shape as a perfect act of fate.  Their days as ‘Finding Argyle’ were decidedly grittier with tracks like ‘Spit’ and ‘Love Like Violence’. Their newer form, ‘Respite’ made a subtle, yet noticeable adjustment in their tone. The lightheartedness was slightly increased as a result of the more melodic and pop-punk inspirations for writing choruses. Vocalist Sam Nicholson is the primary conveyor of their new-found catchiness, held mostly in the anthemic choruses that parade accross most of their spirited songs. The change in vocal style is at times, reminiscent of the much more pop influenced rock style of ‘Deaf Havana’.  Although Respite generally embraces slightly less dark style of songwriting and performing, that doesn’t account for exceptions such as the deeply compelling and hard-hitting ‘Chemical Sleep’.  The music video for which is simple, yet genius; contained in a cramped, red room, the group’s performance energy is barely contained and fills the space to the brim, matching the mood and vigor of the piece to a tee.  Another noticeable and welcome advance in style came from the increased use of synthesis, thanks to guitarist, producer and mastering engineer, Andrew Vaughan. Sam Nicholson put it simply yet aptly that Vaughan is “quite the wunderkind”. On top of mixing and mastering the tracks, Andrew also manages all of the recordings for the group, effectively doing the work of about 6-10 people when compared to a standard studio set-up.   Speaking of, the sound achieved from Respite really is that of a fully-fledged studio arrangement. Clear, concise and tight to a fault, the production and overall contribution from Vaughan is nothing other than remarkable.  As a Glaswegian act, I was interested in the band’s opinion on how the impressive lineup of Scottish rock groups break the mould when compared to that of English or American rock efforts. After conferring with the other members, Sam told me that “I think there's something about the vocals which usually sets them apart, whether that is just the accent, or the way it hits the ear, it does stand out more often than not.” As obvious as it might sound that the iconic Scottish voice plays a major role in differentiating this specific Celtic brand of the same genre from others, it’s nevertheless a profound point that voices from different tribes will react with the ear in different ways. It implies a fascinating discussion about how different ethnicity's natural voices can induce different subconscious responses in listeners. Sam also voiced a tentative concern with lumping acts into the non-genre of Scottish rock and how it can at times be presumptuous, “I personally sometimes wonder if it's too easy to be lumped into "Scottish Rock" and then you're trapped there. It's a double-edged blade though, because, who wouldn't want their name next to bands like Biffy and Fatherson?” It certainly is an under-considered issue of generalising and connecting Scottish acts purely for being Scottish. It unintentionally strips individuality from these fantastic acts like Respite. Although, as Sam points out, it’s not exactly a bad thing to be mentioned among the greats of Scotland. A double-edged blade indeed.  Careful not to mention something the group isn’t ready to divulge just yet, Sam did allude to the future of Respite, “We're currently planning our second EP after a great response to the new tracks, and we're hoping to follow that up with a tour of Scotland, and potentially head down south.”  How can Jeeni support artists like Respite?   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 Respite’s Jeeni showcase here: https://jeeni.com/showcase/respite-band/ 

05
Jun

How to Apply To Play Music Festivals & Events Across the World

I found this great article on Di++O website with links to current UK and overseas opportunities. It's really useful and very informative, as it is up to date and also has direct links to the festival or event where you can apply - so super helpful. Remember, before you apply to perform at any of these music festivals and events, be sure to read the application instructions and conditions carefully for the best chance of success. Some events may only accept submissions from artists of certain styles and genres, so make sure your act fits the bill before submitting your application. CURRENT UK & EUROPE OPPORTUNITIES Are You Listening? Festival | April 2020 | Reading, UK | Apply here Live at Leeds | May 2020 | Leeds, UK | Apply here Hanwell Hootie | May 2020 | London, UK | Apply here Mello Festival | May 2020 | Worcestershire, UK | Apply here Elderflower Fields | May 2020 | East Sussex, UK | Apply here The Great Escape | May 2020 | Brighton, UK |Apply here Sound City | May 2020 | Liverpool, UK | Apply here Leestock | May 2020 | Suffolk, UK | Apply here Wychwood Festival | May 2020 | Cheltenham, UK | Apply here Camden Rocks | May 2020 | London, UK | Apply here Long Division Festival | June 2020 | Wakefield, UK | Apply here Sweden Rock | June 2020 | Sölvesborg, Sweden | Apply here Eden Festival | June 2020 | Dumfries, Scotland | Apply here Isle of Wight Festival | June 2020 | Isle of Wight | Apply here Beacon Festival | June 2020 | Oxford, UK | Apply here Sea Sessions | June 2020 | Donegal, Ireland | Apply here Leigh Folk Festival | June 2020 | Essex, UK | Apply here Black Deer Festival | June 2020 | Kent, UK | Apply here Kendal Calling | July 2020 | Kendal, UK | Apply here Y Not? Festival | July 2020 | Derbyshire, UK | Apply here Ampthill Festival | July 2020 | Bedfordshire, UK | Apply here EskFest | July 2020 | Cumbria, UK | Apply here Nibley | July 2020 | Cotswolds, UK | Apply here Daxonbury Festival | July 2020 | North Bedfordshire, UK | Apply here Techfest | July 2020 | Nottinghamshire, UK | Apply here El Dorado | July 2020 | Herefordshire, UK | Apply here Ipswich Music Day | July 2020 | Ipswich, UK | Apply here Barn On The Farm | July 2020 | Gloucester, UK | Apply here Brainchild Festival | July 2020 | East Sussex, UK | Apply here Not a Cult Festival | July 2020 | Worcestershire, UK | Apply here Nass Festival | July 2020 | Somerset, UK | Apply here Beat-Herder | July 2020 | Lancashire, UK | Apply here Ashford Festival in the Park | July 2020 | Kent, UK | Apply here Shankra Festival | July 2020 | Lostallo, Switzerland | Apply here Nozstock | July 2020 | Herefordshire, UK | Apply here Boomtown | August 2020 | Hampshire, UK | Apply here 110 Above | August 2020 | Leicestershire, UK | Apply here Off Festival | August 2020 | Katowice, Poland | Apply here Humber Street Sesh | August 2020 | Hull, UK | Apply here Beyond the Woods | August 2020 | Lincolnshire, UK | Apply here Farmer Phil’s Music Festival | August 2020 | Shrewsbury, UK | Apply here Arctangent | August 2020 | Bristol, UK | Apply here Green Man | August 2020 | Brecon, UK | Apply here Beautiful Days | August 2020 | Devon, UK | Apply here Weyfest | August 2020 | Surrey, UK | Apply here Victorious | August 2020 | Portsmouth, UK | Apply here Valley Fest | August 2020 | Bristol, UK | Apply here Phoenix Festival | August 2020 | Cotswolds, UK | Apply here Cambridge Folk Festival | August 2020 | Cambridge, UK | Apply here Off The Tracks Festival | August 2020 | Leicestershire, UK | Apply here End of the Road | September 2020 | Dorset, UK | Apply here Illusive Festival | September 2020 | Northamptonshire, UK | Apply here Worcester Music Festival | September 2020 | Worcester, UK | Apply here Euroblast | September 2020 | Cologne, Germany | Apply here Live at Heart | September 2020 |Örebro, Sweden | Apply here Reeperbahn Festival | September 2020 | Hamburg, Germany | Apply here Equinox Festival | September 2020 | Lincolnshire, UK | Apply here Waves Vienna | September 2020 | Vienna, Austria | Apply here Moseley Folk Festival | September 2020 | Birmingham | Apply here Mercat de Musica | September 2020 | Barcelona, Spain | Apply here Iceland Airwaves | November 2020 | Reykjavik, Iceland | Apply here CURRENT USA, CANADA & SOUTH AMERICA OPPORTUNITIES Tiny Lights Festival | June 2020 | Ymir, Canada | Apply here Blue Ox Festival | June 2020 | Eau Claire, Wisconsin | Apply here NXNE | June 2020 | Toronto, Canada | Apply here Nelsonville Festival | June 2020 | Nelsonville, Ohio | Apply here Epicenter Festival | May 2020 | Charlotte, North Carolina | Apply here Music at the View | May 2020 | Tonasket, Washington | Apply here Texas Music Showcase | July 2020 | San Antonio, Texas | Apply here Red, White & Bluegrass Festival | July 2020 | Beaver Creek, Ohio | Apply here Hopscotch | September 2020 | Raleigh, North Carolina | Apply here Arise Music Festival | August 2020 | Loveland, Colarado | Apply here Springfield Indie Soul Fest | August 2020 | Springfield, Massachusetts | Apply here Rock al Parque | August 2020 | Bogota, Colombia | Apply here Americanafest | September 2020 | Nashville, Tennesee | Apply here Deadwood Jam | September 2020 | Deadwood, South Dakota | Apply here Strawberry Music Festival | Spring/Fall Annually | California | Apply here Joshua Tree Music Festival | Spring/Fall Annually | Joshua Tree, California | Apply here CURRENT AUSTRALIA, AFRICA & ASIA OPPORTUNITIES Bali Spirit Festival | April 2020 | Bali, Indonesia | Apply here Cape Town Coffee Festival | May 2020 | Cape Town, South Africa | Apply here Bayimba International Festival | August 2020 | Uganda | Apply here Winter Fest | August 2020 | Lesotho | Apply here Music Matters | September 2020 | Singapore | Apply here Maldon Folk Festival | October 2020 | Maldon, VIC, Australia | Apply here Mushroom Valley | October 2020 | Yalboroo, QLD, Australia | Apply here Tablelands Folk Festival | October 2020 | Yungaburra, QLD, Australia | Apply here Queenscliff Music Festival | November 2020 | Queenscliff, Vic, Australia | Apply here Thanks Di++O Team for such a great article, we have sent links to your website so that our members can find out more. https://www.dittomusic.com/ Our next blog will pinpoint what you need to consider once you have applied and been accepted to play. We are going to create a check-list that our members can actually use. Best of luck and let us know how you got on.

14
Feb

Pat Spencer & JoeSach - ‘Alive & Surviving’ EP Review

This collaboration between a heart-felt lyricist and a versatile songwriter results in a sweet and layered three-track project.  Although songwriter and producer, JoeSach has already uploaded various electronic tracks on the global streaming platform, Pat Spencer is a new addition to Jeeni and has already broadened Jeeni’s indie channel. Be sure to check out the showcases of these two invaluable jeeni artists: JoeSach - https://jeeni.com/showcase/joesach/ and Pat Spencer - https://jeeni.com/showcase/patspencer/.  Pat Spencer’s sweet lyrics and vocal talent provide the heart to this project, while producer, JoeSach forms the body with day-dreamy and mellow instrumentals. The creative and stylistic change of pace lends itself well to Pat’s voice; with thrashing live drums and angsty bass-centered tracks, Pat’s last year singles were much rowdier and faster paced. His casual, yet sincere vocals contain a lot of character and have been fully realised with these calmer instrumentals.  The opening track, ‘I Like You’ is an excellent introduction to this short project. It swells open with a filter-swept beat and warm electric piano chord as though this EP is warming up. With the softer, jazz inspired instrumentals, Pat’s conversational lyrics and sweet melodies are much more obviously reminiscent of Rex Orange County and the British take on bedroom pop. This light-hearted introduction helps set the initially brighter tone which helps contrast the darker tracks to come.  ‘Time’, the second track, is a retrospective and peaceful cut. Layered, imperfect vocals make the song feel warm, comforting and real. While there’s a certain sadness in Pat’s voice here, there’s also acceptance and optimism as he sings ‘Keep your head down, you’ll be fine’. The particular easiness and comfort in Pat’s vocals on ‘Time’ makes the track a clear highlight.  The final track, poetically named ‘The Persistence of Memory’ is an emotional and longing closer. The final piece of this trilogy feels the bleakest, making the project feel like a gradual decrease in hope and enthusiasm, which is an incredibly effective narrative considering it’s told in just three tracks. Minor keys, moody timbres and morose mixing helps to tell the story of this increasingly blue EP.  How can Jeeni support artists like Pat Spencer?   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.  album review album review album review