Safe Space
Edition #87 offers you a ping-pong of rougher sounds and tender tunes.
In today's edition of Weekly5, you can discover new music hailing from Australia, lingering in Switzerland for quite a while, and then travelling across the pond to the United States. Tender and soothing sounds complement the rougher and heavier tunes.
Soft Loft – Safe Space
We have already introduced Soft Loft, Jorina Stamm's band project, with their debut single, Is It Me. On Friday, the band released their debut EP featuring the song Safe Space. This hauntingly beautiful hymn speaks to our innate desire for safety, certainty, and peace through Jorina Stamm's songwriting, which is, above all, honest and vulnerable.
Are We Ready For The AI Future Of Music?
Artificial Intelligence applications are disrupting the music industry at a staggering pace. It raises many legal, ethical, and philosophical questions—and a potentially bleak future.
It was an earthquake not seen before. In late 2022, OpenAI publicly launched ChatGPT. It became the fastest-growing consumer application ever, attracting 100 million active users in just two months—a mindboggling accomplishment. In comparison, it took popular social media platforms like TikTok and Instagram nine months and 2.5 years, respectively, to reach that number of users.
Artificial intelligence is here to stay, and we can hardly foresee how it will disrupt professions and society. However, the exponential improvements we see frighten even those closest to the technology's development. As a result, many leading experts call for a stop of development—or at least a slow-down.
But beneath the public hype around image generators like Dall-E or Midjourney, AI applications like SoundRaw are already impacting the music industry significantly. It seems like the music business is experiencing its next «Napster moment»—but on steroids.
AI Already Drives The Industry Today
It's worth noting that artificial intelligence has already heavily driven the music business for some years. As a critical actor, Spotify has implemented arguably the best curation and recommendation engines in the streaming business. These forms of AI that we also know from social media platforms are generally described as Curation AI.
And it continues to iterate on its AI integrations, launching a new AI DJ in February. And it won't be the end of the road for features in the coming months—especially now basically the whole world can create plugins with ChatGPT.
Curation AI also impacts how songs are written and performed. In contemporary pop songs, lengthy intros are gone; you need to hook people as quickly as possible. The skip button to the next track is near.
However, while Curation AI comes with its own challenges (but not necessarily in music), generative AI, also called Creation AI, like ChatGPT, is an entirely different beast. Vall-E, for example, is a voice-generating AI that can replicate a voice from just a 3-second snippet.
Now, anybody can create songs with the voice of a famous artist—dead or alive. And yes, there are a lot out there already. Some of them are fun, like Eminem rapping about cats.
Others are outstanding, like the fake song Winters Cold with an AI-generated voice of Drake.
Abundant Legal, Ethical, And Philosophical Questions
Kaleidoscopic Odyssey
We had to wait a while for Yet No Yokai's debut album. However, the result is so powerful it could kickstart a dead star while proving: Rock isn't just dead yet.
For almost 15 years, Thomas Seidmann, Samuel Birrer, and Simon Pfister have been on their musical journey. But in 2018, they came to a crossroads that would determine their future: A change of sonic style, a new name, followed by initial success.
As Yet No Yokai, hailing from Lucerne, Switzerland, the trio won the prestigious m4music Demotape Clinic category «Rock» with their song Fahrenheit and singed with Hummus Records.
After releasing a first EP, Post Apocalyptic Promenade, PT. 2, in 2018, they followed up with an array of singles like Vagus, Yet No Yokai's first entry into Weekly5 in 2020.
Sonic Lego
In some ways, the long-awaited debut Wir Sind Da undermines a nostalgia-tainted understanding of how one creates a rock song but simultaneously offers us a way forward for the genre.
At its core, Yet No Yokai's songs originated in a romantic, old-fashioned way: jam sessions. So one would assume that the band ended with final compositions through refinements and clean-ups. But that couldn't be further from the truth.
Still Something
In Weekly5 #86, cinematic and monumental sounds await you, garnished with pop melodies and otherworldly rock grooves.
This week, we have the opportunity to delve into the immersive world of cinematic sound and indulge in the electrifying experience of expansive psychedelic rock. As we keep spinning, we may find ourselves feeling a thrilling rush, yet ultimately leading us to a more vulnerable, introspective place.
Lola Marsh & Red Band – Feel It Still
In an unusual collaboration with the kind of fictional Red Band, Israeli duo Lola Marsh took Portugal. The Man's undyingly groovy Feel It Still and stepped on the breaks. The result is a slowly stomping, Western-styled cover song that sounds inherently Lola Marsh but also honours the original's vibe. And the duet of Yael Shoshana Cohen's unique voice and Ari Pfeffer, who voices the character of Red Ohrbach, is simply stunning.
May Recap
Check out five of our favourite tracks in the last four Weekly5 editions.
Mamba Bites and Fluffy Machine rock at first «riser.AMP»
«riser», a new project seeking to spotlight Switzerland's rising artists, celebrated its first event. But could it deliver on its promises?
A couple of weeks ago, «riser» was publicly introduced. It's a non-profit association run by established players of Switzerland's music business that set out to highlight local up-and-coming artists. In two different formats, newcomer bands would get the chance to prove themselves on stage.
On May 25, they held the first event of their «riser.AMP» series in Zurich's Exil Club. The promise of the format sounds intriguing:
«Established artists and bands choose two young up-and-coming artists and create a show together. The rising artists are not overshadowed but are part of a joint performance.»
But, however intriguing the promise, it's also rather vague. And you could define two factors that decide the format's success or failure:
- How many people show up?
- What does the joint performance look like?
Preemptively said: One of these two has significant room for improvement.
Spot-on Selection
There are enough reasons to be sceptical about «riser». The main question floating around my head as I walked in the concrete valleys of Western Zurich was: Will there be enough people?
The established artist of the first «riser.AMP», Jack Stoiker's punk rock band Knöppel, had to nominate two up-and-coming bands. And their selection was spot on: Mamba Bites and Fluffy Machine, both hailing from the French part of Switzerland.
Knöppel, the unlikely phenomenon that found unexpected popularity with their 2016 album Hey Wichsers (Engl: Hey Wankers), are still surfing on that wave despite having released Faszination Glied (Engl: Fascination Penis) in 2019 and working on a new record scheduled for this year.
Their peak might be relatively long ago, but Knöppel still manage to draw crowds in—so «riser.AMP» could deliver on their promise towards the newcomers: The club was packed.
The Rising Stars Deliver
Mamba Bites and Fluffy Machine delivered. Mamba Bites, an all-female trio, immediately generated pressure, playing unapologetically loud. The club's sound system screeched. But beneath their rampant, aggressive noise, you could detect sophistication in refined composition. Just take the climactic final stretch of Temporary Nature.
And just as I thought it was a shame that it still feels quite unusual to see women conjuring such ecstatic punk punches, the bass player lifted the instrument over her head, revealing the message: «More women on stage.»
Later, the surf punkers from Fluffy Machine demonstrated how only a couple of years more experience could add to a performance. So, while Mamba Bites released their first demo in 2020, Fluffy Machine published their debut, It's Funny Cause He's Fat, in 2017 and played quite extensively in the UK.
Fluffy Machine are natural entertainers and jokesters who are as confident as they are self-aware and ironic. They know that they're creating party music—and embrace it fully. Yet, despite their joking attitude, they're professionals, able to play with relaxed cool. With their latest two singles, nah nah nah and i'm always high (when i see you smile), they also demonstrated their potential to craft addictive hymns.
And after these talented musicians riled up the audience and filled the Exil club with a smell of stale beer, sweat and farts, Knöppel took the stage and seemed hilariously amateurish. Yet, their cult hits, driven by simplistic three chords and Jack Stoiker's absolutely amelodic voice, are just a blueprint of punk's spirit.
Not Creative Enough
Usually, I would conclude: It was a perfect punk rock night. Loud music, pogo, beer, exuberance. You can't wish for much more.
However, regarding the vague outline of the format and its promise of a «joint performance», the evening didn't live up to its potential.
Daniel Mittag, aka Jack Stoiker, and his bandmate Marc Jenny on Contrabass introduced each of the rising artists' performances. They played one song and then let the new generation take the stage.
While these interludes are out of the ordinary, it wasn't enough to make the evening feel different from a traditional show. Knöppel still were undoubtedly the headliner catching the spotlight—and Mamba Bites and Fluffy Machine did their best to convince. So in a sense, they were probably overshadowed.
Why not split Knöppel's set: Three songs in the beginning, middle, and end? Or an actual collective performance? Or Knöppel covering a track from both bands? The punk rock theme lends itself perfectly to creative, maybe weird, but lovable ideas.
Admittedly, those suggestions come with many complications and additional effort in preparation and production, especially considering it's a one-off.
Moreover, it's a fine line: How creative can you get without scaring away the audience? How can you manage the fan's expectations regarding the established act—and how much can you subvert them? After all, it's hard to convince people to check out newcomers, as was again made aware when the «Strom & Drang» festival had to cut one whole day because of devastatingly low pre-sales.
However, it's too soon to draw a definitive conclusion after only one event, and the first one at that. While «riser.AMP» might not have delivered fully on all their promises, the most important thing was that Mamba Bites and Fluffy Machine could showcase their talent to Zurich's audience while receiving fair compensation.
Doolally
Weekly5's edition #85 invites you to an exciting journey featuring raw tracks, polished jewels, and defined coolness. Discover new music today.
You can look forward to today's carefully selected curation of new music. Weekly5 is all about breaking free from algorithm-picked more of the same and bringing you truly human-to-human recommendations.
My goal is to transport you to a world of music that is not just entertaining but also meaningful. A world that pushes the boundaries of what we perceive as «good music» and challenges us to expand our horizons.
Experience an exquisite range of innovative sounds that push the envelope, question the «rockstar image», and immerse you in thickly layered compositions.
Hak Baker – Doolally
What's the common thing in post-punk, brit pop, roots reggae, funk, and indie folk? The answer is Hak Baker. The East London artist's sonic innovation is vivacious, resulting in eclectic tracks like Doolally. Here, Baker embarks on a frantic, breathless, Mike Skinner-styled storytelling, mixing cockney dialect with Jamaican Patois, accompanied by an escalating composition of groovy funk guitars, howling brass, and nervous drums—perfectly rounding the notion of Doolally, slang for «out of one's mind», delving into the messy haze of East London's nightlife.
Q&A – Negative White's Comeback
The following post answers some of the most pressing questions about Negative White's comeback.
Some days have passed since Negative White's return. Here, we try to answer some of the most urgent questions you might have about the comeback.
And if you're curious about some other things, just leave a comment, and we'll answer your questions right away.
Negative White folded in 2020. Why is it coming back?
During the decade from 2010 to 2020, Negative White expanded from a modest two-person endeavour into a substantial organisation. At its peak, approximately 30 volunteers were involved in the reporting process.
While the growth greatly enhanced its reputation, it also necessitated an immense amount of work that I struggled to manage and sustain.
As time passed, it became clear that my passion for writing about music is still here. Simultaneously, numerous people expressed their longing for the Weekly5 song recommendations.
This inspired me to revive Negative White with a renewed and in-depth focus on music. Rather than establishing a new brand, I opted to revive Negative White with the same exacting standards of quality, albeit on a smaller scale.
Why are you writing in English?
Yes, it's a bold move. I confidently chose to relaunch Weekly5 in English to expand my reach and showcase emerging Swiss artists globally. I hope this will enhance the impact of my curation efforts.
Moreover, within small Switzerland, we have four national languages. Shamefully I have to say that my French is substandard by the most basic means. Therefore, English is the most reasonable common denominator for a platform reporting on talented musicians and bands.
What content can I expect?
Weekly5 remains a crucial aspect of Negative White's content, but the brand also allows me to explore various formats and engage in more storytelling. I aim to consistently publish more comprehensive stories, such as essays, features, interviews, portraits, and, occasionally, concert reviews. In addition, I strive to delve deeper into these stories and address societal themes beyond the surface level.
One category that can be considered an exception to the norm is the «Noteworthy» section. It features brief updates related to the music industry.
Why do I have to pay to access certain content?
It costs quite some money to run a platform like Negative White: Technical infrastructure, software tools, and other materials are required. It all adds up to approximately 1000 Dollars per year. The subscriptions help to sustain those recurring costs.
At least in Switzerland, written music journalism is primarily done by volunteers passionate about music. These platforms are fueled by nothing but their motivation while still serving an essential purpose: Giving exposure to the creative musical landscape.
But because of the volunteer nature of these platforms, they are likely to fade away quickly should motivation run out or the editors cannot spend money on them. So our subscriptions also contribute to a more sustainable effort.
So are you guys a profit-driven organisation?
No, far from it. The memberships are here to cover the running costs for Negative White—it's pretty far-fetched to assume we could pay fair wages from that. We contribute our time voluntarily.
We deliberately made the paid subscriptions as affordable as possible while maintaining a realistic goal of how many subscriptions we need to cover the costs.
Based on these prices, we can calculate the number of subscriptions needed to cover our annual operating expenses of $1000. We would need 100 yearly subscriptions for Weekly5 or just 18 for Premium.
Our goal is to constantly improve Negative White's content and user experience, and we are committed to investing the subscription income directly into achieving that objective once it surpasses the cost.
Are you looking for contributors?
Yes. If you are a writer or photographer, passionate about music, and show high intrinsic motivation and self-leadership, reach out to us here.
I'm a musician or promoter. How can I reach you?
Check out our contact page to get the correct email address.
