Two Ways Home ‘Waiting on Luck’ Single Review

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Two Ways Home ‘Waiting on Luck’ Single Review

This UK-based alt-country songwriting pair sets a new standard of warmth and bliss with their newest rock-tinged single, ‘Waiting on Luck’.

Two Ways Home consists of Lewis and Isi both contributing instrumental and vocal roles into the sweet, harmonious compositions that they write together. Having been a part of Jeeni for a while now, this wholesome, multi-genre duo has blessed many of Jeeni’s channels with their fun, easy-listening tunes including folk, country, rock and americana. Check out their showcase on Jeeni here: https://jeeni.com/showcase/two-ways-home/

Interestingly, this new single opens with a chorus; an increasingly rare structural choice. The section is heard stripped back, with just Lewis and Isi harmonising and a basic acoustic guitar accompanying them both. By displaying arguably, the most vital structural section of contemporary music first thing, it makes the listener instantly familiar with the chorus even if this is the first time that they’ve heard the track. That means that when the part is heard at full power, it is a total delight due to the listener subconsciously desperate to hear the part again. This decision can lead to a confusing and peculiar feeling in a song’s structure, however on ‘Waiting on Luck’, this device is heard at its most effective.

As is the typical way with country music, this single is exceptionally mixed and mastered, especially in regard to the layered vocals sitting in the mix with all other instruments so effortlessly. The singing from both members is so warm, and rich, thanks to the obvious synergy that they hold in their performative relationship. The introduction of some harder, more rock-styled sounds like distorted guitar and rolling, tom-heavy drum beats work perfectly with the country foundation that they laid down in the opening moments of this track.

Lewis and Isi’s understanding of song structures and musicianship holds their pieces together and really pushes their music to higher levels and this understanding is heard best in ‘Waiting on Luck’. Check out the new single from Two Ways Home’s showcase on Jeeni: https://jeeni.com/showcase/two-ways-home/

How can Jeeni support artists like Two Way Home?

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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04
Jun

A $0.003 reward?! We’re Twitching at the thought!

Twitch has always been popular amongst the gaming community. It was created initially in 2011 as a platform for gamers to use in order to live stream as well as broadcast live Esports events and competitions and has since retained on average 15million daily users. With so much more of our time spent online due to the Covid-19 pandemic, Twitch has expanded in regard to what they broadcast and live stream: talk shows are growing in popularity as well as live streamed music to name but a couple. As the date for the resumption of normality approaches and with it the reopening of concert halls and live shows, one can speculate as to what will happen to those artists that have decided to make use of these live streaming platforms as a source of income. Twitch users reportedly spend three times as much time on the platform as on Sportify and YouTube so the potential for it to be a very lucrative platform for music makers and artists is what has been looked into by Will Page, an economist who runs Tarzan Economics. He worked alongside various teams in order to understand how live streaming and live music may co-exist in the future. “Live streaming won’t go away when live music returns.” -Will Page In 2002, one of the first music streaming services Rhapsody, offered a $9.99 monthly price which is the same as what we see today for similar music streaming services. What is provided is also pretty much the same as what was offered in 2002; fans remain largely disconnected from their favourite artists, they are unable to offer direct compensation to creators, and ‘cross-usage’ occurs frequently as a listener is often subscribed to multiple platforms. “None of the on-demand streaming services that have since sprung up enable immediate engagement, this is a relic of the music industry of old.” -Will Page User engagement is something that both Twitch and Jeeni offer, and not only does it allow the fans to be more involved with the artists they love, but it allows the artists to be fairly compensated, a huge issue which is now being petitioned against by the Broken Record Campaign. See our last blog post for more information and ways that you can support the campaign. According to Will Page, the typical music streaming model has approached the way in which artist are compensated in one way: “the platform aggregates all the streaming data and revenues from a specific market and product over a specific time period, divides an artist’s share by that sum, and allocates revenues proportionately. Get 1% of all the streams, and you’ll get 1% of all the money. This has spurred much debate within the industry, as heavy streamers are effectively subsidised by light streamers, or as Quartz controversially put it: Your Spotify and Apple Music subscriptions pay artists you never listen to.” In essence, the modelling simply just isn’t fair, and neither rewards the artists or their fans for supporting them. The way in which Twitch brings in money, however, varies across three methods similar to Jeeni: Creator Channel Subscriptions, Bits allow users to support creators directly on the service, and advertising. Will Page made a comparison between creator earnings on Twitch, which average at $0.15 per-hour-per-user, with that of global streaming services at which the rate per-stream is set at roughly $0.003. By taking the $0.003 per stream and multiplying by 17 (assuming a song lasts 3 minutes this equates to an hour of listening time), then applying an average 20% royalty rate, this results in a creator’s “revenue-per-hour listened” at just $0.01. My jaw dropped, did yours? Twitch has proved it can monetise over 10 times better than music streaming, however this only applies to creators’ most loyal fans that tune in on a regular basis. "If you keep the full $100 of each true fan, then you need only 1,000 of them to earn $100,000 per year." -Kevin Kelly, The Technium, 2008 Do you want to spend hours watching your favourite gamer and at the same time, fairly compensate and reward them for their time and effort? Well of course. What Twitch does for gamers, we want to do for music makers and artists here at Jeeni. Look out Twitch, we’ll meet you at the finish line.

11
Oct

Jeeni's Pick of the Week - Flamingods

Jeeni's Pick of the Week is International psych explorers Flamingods. A four-piece, multi-instrumental band from Bahrain & London who were founded in 2010. The group explores and experiments with an array of influences from western psychedelia, jazz and indie to a wide-eyed obsession with music from the East. Using a vast selection of instruments from the Middle East and Asia. The band marries this with western instrumentations of synthesisers, guitars and drums. To create a potent sound all of its own that they call ‘Exotic Psychedelia’. As well as touring the UK and Europe numerous times the band have played at many festivals. Including Glastonbury, End of the Road, Green Man, Fusion, Into the Great Wide Open, The Great Escape and SXSW. Bands like Flamingods are the type of exciting artists that Jeeni supports on our platform. By creating showcases, supporting creative talent and promoting them to an audience on jeeni.com Flamingods newest album ‘Levitation’ digs deep into themes and sounds of the early Middle East and South Asia 70s psychedelia, proto-metal and British pop. The Bahrani-bred and London-based band pull out a masterful collage. During the process of writing and recording ‘Levitation’, Flamingods found themselves living in the same continent for the first time in four years. It’s this unified process that lends a feel to the new music and has allowed them to make good on their early potential. ‘Levitation’ is the follow-up to their breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. Since the release of ‘Majesty’, Flamingods have been travelling the globe. Spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam. You can catch Flamingods performing live Saturday, October 16th at the Wild Paths Festival in Norwich. 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 Flamingods showcase here on Jeeni: Flamingods | Showcase | JEENI. Along with other showcases to add to your playlist.

19
Oct

Afro-Futurist Project - Onipa

Onipa is an Afro-Futurist project from Ghana/ London founded in 2018 by K.O.G (founder of K.O.G and the Zongo Brigade) and Tom Excell (founder of Nubiyan Twist). Alongside bandmates Finn Booth (Nubiyan Twist) and Wonky Logic (Steam Down). Afro-futurist sensations Onipa combine deep afro grooves, electronics and fierce energy in an effervescent celebration of cultural and musical encounters. ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children. Bringing energy, groove, electronics, afrofuturism, dance and fire! Jeeni’s mission is to support artists just like Onipa, showcasing their talent and support them to reach their full potential by having a showcase on jeeni.com. Since their debut showcase at The Great Escape festival, Onipa have gone on to sell out the Jazz Cafe, London and play 40 summer shows around the UK and Europe in 2019. Including, Glastonbury (Truth Stage), Shambala (Dance Tent), Fellabration (Paradiso, Amsterdam) and headline shows in Zanzibar and La Reunion Island in 2020. The group performed in Australia in front of a 5000-strong crowd during a celebration of Nelson Mandela's 100th birthday. As well as Damon Albarn's 'The Circus' in Leyton, London. Their debut album We No Be Machine has a 4* review from MOJO and UK radio play from Benji B, Tom Ravenscroft and Gideon Coe. However, coverage and touring were all badly hit by the pandemic. Despite this, Onipa still managed to record an immersive live performance at Peter Gabriel's Real World Studios for WOMAD as well as showcasing at SXSW and We Out Here online. Additionally, they are currently working on their next record. 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. Check out Onipa's showcase here on Jeeni: Onipa | Showcase | JEENI. Along with other showcases to add to your playlist. jeeni.com.

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