Jeeni Blog

Helping the next generation of talent to build a global fanbase

Jeeni's Pick of the Week - Colectiva

/ By Freya Devlin
Jeeni's Pick of the Week - Colectiva
Colectiva Global Bandstand Weekender Southsea Portsmouth presented by The People's Lounge

Colectiva is a nine-piece ensemble exploring the spaces between Afro-Latin music and jazz while reflecting on themes of sisterhood and female empowerment. Exploring the boundaries between Afro-Latin music and Jazz, Colectiva are a unique voice on the UK scene. Representing the meeting of two musical worlds they believe belong together. Founded as a creative experiment by trombonist Viva Msimang. The group makes space for female and non-binary identifying musicians to collaborate in a new dynamic. An alternative to traditional hierarchical structures, away from the Male Gaze. In addition to exploring notions of sisterhood through their shared creative practice, empowering themselves and their audiences alike.

Exciting projects like Colectiva are the type of talent that Jeeni supports on our platform. By creating showcases, and promoting them to an audience on jeeni.com

Rooted in the sounds of Africa, Latin America and the diaspora, Colectiva's thoughtful and punchy arrangements are affectionately dubbed ‘jazz tropicaliente’ (hot-tropical-jazz). Released in collaboration with jazz pianist Maria Grapsa, the group’s debut single ‘Under The’ on Movimientos captures the essence of their shared creative practice. And has received support from the likes of Huey Morgan and Jamz Supernova on BBC Radio 6 Music. As well as Jazz FM’s Chris Philips and Tim Garcia, and Toshiro Matsuura and Papaoul on Worldwide FM.

‘Under The’ came to life when jazz Maria Grapsa brought an early arrangement of the tune to the collective. Working together over a series of collaborative sessions typical of their creative process, they crafted the song you hear today. Consisting of tormented melodies, jagged horn hits, and a rhythm section bristling with energy open the song, evoking sounds of struggle.

Furthermore, the group won ‘Best Alternative Act 2019' at the UK Latin Awards. The exceptional Colectiva is set to step into their power in 2021, with two more singles with visuals planned, infused with the spirit of feminist activism.

JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.
  • Firstly we give creatives, independent artists and performers a showcase for their talent and services.
  • Secondly we empower our audience and reward them every step of the way.
  • Thirdly we promise to treat our members ethically, fairly, honestly and with respect.
  • Lastly and most importantly they keep 100% of everything they make.

Check out Colectiva's showcase here on Jeeni: Colectiva | Showcase | JEENI Along with other showcases to add to your playlist.

15
Dec

Artist Focus: Giack Bazz - A Royalty Revolutionary

In just five short years, Giack Bazz has crafted a spectrum of ideas and concepts with his discography that a lot artists don’t get around to in their lifetime. Although Giack has expanded his sound to stylistic corners that he even had to create himself, his sound has typically always been centred around alternative, experimental rock, inspired by the likes of David Bowie, Thom Yorke and Devendra Banhart.  Giack studied songwriting at BIMM London where he honed his already present skills as a singer-songwriter. Jeeni is always on the lookout for exciting, new talent that deserves a wider outreach and so, BIMM alumni, Ella Venvell, Jeeni’s artist liaison specialist remembered Giack as a unique and layered act and introduced him to Jeeni’s mission. As well as working with BIMM students, Jeeni has recently become partners with ACM to be at the source of new talent and help to uplift them in their careers. Hailing from Modena, Italy, the london-based Giack Bazz began his musical journey in 2016 with the sentimental and heart-aching ‘Childhood Dream'. The stunning debut was a means of processing the wave of emotions that came with the passing of his mother when he was just nine. Giack was also lucky enough to be picked up by his region’s arts council to fund a grand rock opera based off the impressive debut.  By kicking off his musical path with such a challenging and maturely profound project, Giack set up a powerful origin, with which he has used to launch into increasingly fascinating works, the likes of which I have never heard before.  As a fairly straightforward 9-track project, ‘Childhood Dreams’ is so far the only vanilla tracklist in Giack’s discography. Giack went on in 2018 to make a long-redundant 2-disc split with his second album, ‘Giack Bazz Is Not Famous’. This album had a more light-hearted, yet angsty indie rock tone which featured more full band arrangements compared to his first. The disc openers, ‘Beetle’ and ‘Forgotten Media’ are certainly two focal points of the project.  The year after came the Japan inspired ‘Haikufy’ which, despite containing 30 tracks, clocked in at under 20 minutes long. This project is the clearest first sign of Giacks experimental tendencies. Ranging from twinkling, dreamy moments to thrashing noise and yelling, the weird and wonderful ‘Haikufy’ still can’t help but feel cohesive as an experimental project due to clear vision and production. ‘Haikufy’ proved to be a vital stepping stone for Giack’s future as an artist and not just experimentally, as it was here where Giack first initiated his “personal protest against the unfair paying scheme of streaming platforms.”  Giack explained to me that “streams are only paid after the first 31 seconds clock in, the rest of the song is worthless for streaming platforms.” And so, by releasing an album that has densely packed in tracks that meet the bare minimum length to gain royalties from streaming services, Giack exploits a system just as they do. It was this concept that gave birth to Giack’s most recent project which is a kind of sibling to ‘Haikufy’ except, instead of 30 short songs, last year’s ‘Impression A.I.’ contained 366 written, mixed and mastered songs in a 6.5-hour timeframe!  Released under the name ‘The Royalty Instrumentality Project’ as a collaboration with partner and producer, Deborah Verrascina, ‘Impression A.I.’ is an inspiring and righteous protest against the unethical operations of streaming services, “By creating a vast album of short songs, we effectively use their system against them.”   With concepts like this; born of passion, research and justice, Giack makes for such a formidable force in the music industry. With Deobrah’s production to polish Giack’s ambitious projects and equally in-depth, albeit sinister marketing campaigns from manager, Marta Teolato, the team of three are a force to be reckoned with when it comes to music royalty justice. Fortunately, the trio are currently planning a similar protest project, fulled by extensive collaboration. Watch this space.  Giack is performing live at The Beehive, Empson Street on the 21st of January, tickets are available now: https://www.eventbrite.co.uk/e/the-beehive-underground-sound-tickets-211275650157?aff=GiackBazz  How can Jeeni support artists like Giack Bazz?   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 Giack’s Jeeni showcase here: https://jeeni.com/showcase/giack-bazz 

07
Mar

Julience - ‘Love Lies Cold’ Single Review

Julience’s continues his one-man effort in keeping rock alive with this impactful hard rock ballad, ‘Love Lies Cold’.  Hailing from The Netherlands, Julience moved to Manchester to pursue his dream in music where he has been harking back to the golden age of rock ever since. This single is the multi-instrumentalist and singer-songwriter's second single and Jeeni is excited to be able to feature Julience’s fantastic throw-back tracks on our rock and guitar channels as they release. Check out Jeeni’s rock channel here, https://jeeni.com/channel/all-channels/rock/. And check out Julience’s Jeeni showcase here, https://jeeni.com/showcase/julience/?view=about.  Rock music is very robust; time and time again, it has come so close to disappearing only to revive itself and evolve to fit better into modern music climates. The difference with Julience is that he refuses to dilute the music he loves to conform to fit anything other than himself. Even in the infancy of his discography, he’s gained recognition and respect for keeping an older form of rock alive in the present day. Julience has been featured on over 30 playlists on streaming platforms with titles like ‘Punk Goes Pop’, ‘Retro Now Rock’ and ‘Rock ‘n Roll isn’t Dead’.  The only modernisation Julience grants himself is the clarity and up-to-date standard in his production and performances. Something specific that separates Julience from other modern rock groups is his truly guitar-centric compositions. It can sometimes feel as though the art of the guitar solo is slowly getting lost and becoming something of an artifact but Julience’s electric interjections teased from the very beginning eventually come to fruition as a finger-tapping, string-bending celebration of musicianship that ties the entire piece up.  Among the rock n roll hall of fame legends that Julience clearly looks up to, specific inspirations that come to mind from 'Love Lies Cold’ include Billy Idol, Guns N’ Roses and most notably, Iron Maiden. This 80s era is where rock was at its most mainstream and so Julience’s decision to honour that time is a lot of fun. It’s also so satisfying to see him fill in a market for those that weren't quite ready to say goodbye to those days.  Check out ‘Love Lies Cold’ here: https://jeeni.com/love-lies-cold-julience/.  How can Jeeni support artists like Julience?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.  album review album review album review • 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. 

06
Jun

My grandfather was killed by a rubbish truck.

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! One bright Autumn morning, my grandfather was killed by a rubbish truck. He got run over crossing the road on his regular walk to work. He was 84. And I am comforted to know that he loved his work as much as he loved his walk. As for me, I have yet to reach that ripe old age but I am still working most hours, most days. It's not so much that I love my work, more that I don't know what else to do. When I was younger, so much younger than today, I was promised a sci-fi world where all labour would be performed by robots, leaving us humans to enjoy a more meaningful existence. Before my grandfather was born, Karl Marx wrote that in a mechanised society workers would be freed from the monotony of work to “hunt in the morning, fish in the afternoon, criticise after dinner.” My grandfather certainly never saw such a sci-fi world or Marxist society, and I'm still waiting for it. But the way things are going I may not have to wait much longer for robots to take over the tedium of work. Judging by their behaviour, I suspect that most telemarketers, receptionists, estate agents and bar tenders were replaced by robots ages ago. And for drivers, machine operators and manual workers, it can only be only a matter of time. The first robot aircraft pilot took to the skies then navigated flawlessly and landed safely way back in 1947. Robots have been successfully conducting complex heart surgery since 2004. Artificial intelligence has already reached the cognitive power of a nine year-old human, in which case it is qualified to run for President of the USA in November. But do we really need political leaders to tell us how best to fill our waking hours? If we can develop all these technological wonders then we should be smart enough to work it out for ourselves. Our waking hours are dominated by work, whether we are in work or not. Strikers are depicted as troublemakers. Artists are depicted as idle. The poor are depicted as scroungers. The state cajoles the unemployed, the sick and the disabled to get off their arses and work. We are educated with the goal of work in mind, then having worked all our lives we are grudgingly handed back a mingy pension which we paid for in the first place. The idealised worker works in order to pay the childminder, the Deliveroo driver, the dog walker, the baker, the brewer, the app maker, because the idealised worker has no time left for such things. The idealised worker is too busy working to do any of these things for herself. For huge numbers of us the significance of the old certainties of community, religion, politics, and even family, have all fallen away to be replaced by work. For huge numbers of us work is how we give our lives meaning, while at the same time work has become more precarious, more impersonal, more stressful, and the app-driven gig economy is a perfect example of this. Yet everybody knows that automation is already capable of doing most manual jobs of work, and now artificial intelligence is predicted as achieving the capability of taking over most desk-bound jobs too. Since the pandemic, the entire framework of work is falling apart. But as a species we are not hardwired to work for a living. We never have been. We were lied to by those who said we must work, either to deserve a mythological afterlife, or protect an artificial realm, or for supposed honour, or someone else's glory, or for tokens of currency that can only be spent at the store owned by the company that issues those tokens in the first place. But of course all of those motivations are a con. And an obvious con at that. So here's the thing. Now we have cheap reliable technology, let's get all the robots to do as much of the muscle work as they can, and let's get all the artificial intelligences to do as much of the brain work as they can. Then let's redistribute the remaining working hours evenly to we the people, and in return pay ourselves some of that fabricated stuff called money so we can buy good food and decent shelter. By my reckoning six hours a day, three days a week will do nicely to pick up the slack left by the robots. Work needn't be useless. Work includes child-rearing, caring for the elderly and protecting the vulnerable. It also includes growing food, dreaming up new businesses and fixing the tap. And work includes creating music and dance and poetry and streaming it on Jeeni.com. It is self-evident that all valid work is worth the same valid reward. This is not a Marxist idea, or even a socialist proposal. It's the Tories who bang on about work being such a good thing and everyone pulling their weight, and I completely agree with them. Margaret Thatcher, that champion of work culture, said, “The heresies of one period become the orthodoxies of the next.” Yes indeedy, so bring on the robots and the electronic brains. If work is such a good thing then let everyone have a go for a few hours a week for a universal payment. And don't worry about how the payment is distributed, the accounts have all been reckoned by computers for years. Click HERE to visit or return to jeeni.com