Industry Honours National Album Day

Industry News, News

Today celebrated the first-ever National Album Day. Retailers, radio stations and record labels alike took to social media to honour the 70th birthday of the album. calls for the ‘biggest album playback’, asking all music lovers to play their all-time favourite album from beginning to end starting at 3:33 pm.

According to the National Album Day website, ‘In 2017 135 million albums were either purchased, downloaded or streamed – a rise of 9.5 per cent on the previous year.

4.1 million of these were on vinyl – the highest level since the start of the 1990s.’

Ambassadors for the event include Paloma Faith, Alice Cooper and Jess Glynne.

To commemorate the occasion, The Wave team have shared their favourite albums:

Jordan: Pale Waves – My Mind Makes Noises

Geo: Shame – Songs of Praise

Courtney: Fit For Rivals – Freak Machine

Megan: Adore Delano – Whatever

Meg: Father John Misty – Fear Fun

Julia: Stevie Wonder – Songs in the Key of Life

Lil: Amy Winehouse – Back to Black

Briony: Kendrick Lamar – Good Kid, M.A.A.D City

Caragh: Etta James – I’d Rather Go Blind

Federica: Lana Del Rey – Tell Mama

Bekky: BTS – Love Yourself: Tear

Trevor: Pegasus Bridge – While We’re Young


Words: Megan Duce

Danitsa wins her first prize at the Swiss Music Awards 2018

Industry News, Uncategorized

Danitsa wins her first prize at the Swiss Music Awards 2018 On Saturday 9th of February, young rapper/singer Danitsa from (GE,CH) walked up the stage of the Swiss Music Awards to receive her prize for her album ‘EGO’ released last November. Winner in the ‘Best Act Romandie’ category, the young French, Serbian, Chad, Congolese and Spanish decent made her voice and style be established for good.

Produced by the Swiss record label Evidence Music (Geneva,CH), Danitsa dropped her first album on the 24th of November 2017.

The project, well-refined and versatile counts a few unavoidable tunes such as ‘Remember Me’, ‘Hoover’, ‘Now’ and wavy ‘Bachata’. After signing these four heavy hitters, the increasingly requested performer stated on her official Instagram profile that the album was the result of two years of hard work and tweaking. Not less, for the pure bliss of our ears. A paying attention to the detail that granted her the reward only a few months after she released the opus .

Danitsa has a high-pitched and sharp voice rippling with Rap and Soul rhythms. Her accent betrays a slight French accent and an catching familiarity to Caribbean terminologies and harmonies. She stated in an interview for L’illustré magazine that her father – Producer Skankytone – introduced her to the world of Reggae, Bass, Rocksteady and more. Danitsa also explained in the meeting that she left the idea of naming her music genre, opting to let her multiple inspirations reflect on her own artistic interpretation. A freedom which is more suitable than building borders around a voice. Danitsa, undoubtedly has ideas, and since the release of her the latest album, EGO she managed to reach great critical acclaim. To top that, both of her fanbase and friends are showing a solid amount of support alongside her work.

EGO expresses the ideas of ambition, and singularity. A great find for any expert. Danitsa often allows her vocals to speak omitting words and reveals notes that freeze out and get caught in your mind. That voice, is certainly well surrounded by. Such as in ‘SevenUp’ featuring growing artists of the francophone Hip-hop/Rap scene Slimka & Di-Meh (GE). Di-Meh opens the ceremony gradually: through autotune at first and then without, his voice stands out at its simplest effectiveness. Slimka’s rhymes, clean, and playing with sonorities and meanings won’t let you down either. The main theme of the song supposes some heavy basses and chorus coming up from its start: when you will get to that point, you will also undergo the curse of replays. The hanging melody that sets the bridge may send you miles away for a few seconds, be ready, it only takes a ‘click’.

In the track ‘Jungle’ featuring rapper Rico TK, the trusty lady raises the level higher. The production surely makes honour to the title with a languishing 808 bass cheered up with drum rythms. The ‘rainforest’ atmosphere and the flute are well puzzled in the background melody. The singer’s voice leads the track followed by the rapper’s sharp and steady flow. Lose yourself there and you may get some bruises, however, we know it’s worth it. And if you wish to sit down and appreciate, ‘Days’ and ‘Repo Man’ should be taken into consideration for your own benefit.

Overall, the album provides multiple different hooks that will soon or later make you nod your head. With a great sense of adaptation and consistency, twenty three year old Danitsa shows an well deserved success potential. At this rate, it’s only a matter of time until she reaches our yards.

Words By,

Tharushi Stephen

Taylor Swift Is Dead, Marketing Genius?

Features, Industry News, Uncategorized

Resurrection: So, it’s the 18th of August 2017, and there is a black out of all of Taylor Swifts social media accounts – no Instagram, Tumblr, Twitter, there is no sign of any previous albums, singles, tours or promotion. Even her official website was greeted with a blackout. All gone. Is the old Taylor dead?


As you may well be aware, Taylor Swift started teasing fans on her social media accounts just 3 days after the blackout with 10 second cryptic reptile videos, building the images up daily, to eventually form a snake. Next thing we know there is a single dropping, ‘Look What You Made Me Do’ on the 24th August, with the now infamous lyric ‘’I’m sorry, the old Taylor can’t come to the phone right now” “Why?” “Oh, ’cause she’s dead!’’ Alongside this, and her single ‘Ready For It’ there are constant reminders in her music videos of a resurrection of a new Taylor. But what is this all for? Is Taylor Swift just following the same marketing model of ‘Good Girl-Gone Bad’ as so many artists have done before her? (Rihanna, Katy Perry, Miley Cyrus, Britney Spears) to name a few, or is the death of the ‘old Taylor’ and resurrection of the ‘New Taylor’ just marketing genius? Her fans who would have idolised her as a country star are now young women, growing up and changing alongside her which makes her more relatable than the teenage country star she once was.


This quote from Diane Pecknold sums up on whether she thinks this marketing campaign will be a success:

“Whether Swift’s new persona will be a marketing success remains to be seen, but as the eight-ball fortune teller would say, signs point to yes. Her career was built t on her ability to reach a teen girl audience the country music industry had previously overlooked. Like her, those girls are now young women, and they’re not likely to be alienated by a persona that, for all its callousness, represents a kind of femininity geared toward survival in hostile circumstances. In any case, Swift and Big Machine have the cultural power to put across even a mediocre record and the economic resources to withstand one that is only very successful rather than a global juggernaut. The new Taylor will probably be just fine.” – Diane Pecknold is associate professor and Chair, Women’s & Gender Studies at the University of Louisville.

The Rise of the Visual Album

Features, Industry News, Uncategorized

Over the past several years streaming sites such as Spotify have become increasingly popular generating a lot of different types of publicity for musicians and their music, meaning that the art of a simple video that would previously be shown on MTV or  YouTube are starting to look slightly outdated as the public are debatably more focused on streaming the music rather than watching a short clip alongside it. This in turn leaves the artists with a creative outlet where they can create a much longer visual film that works alongside their music yet is also filled with dialogue and artist/ emotional imagery to help us understand their work to a better extent. With the lack of emphasis on the previous short music clip, the artists and its creative team can worry less about fitting all that content into a 3 minute clip and instead make a more intricate piece of work that has more considered visuals and considered extended spacing between visuals.

Within 2017 alone we’ve seen the release of many visual albums and EPs such as Fergie’s release of ‘Double Dutchess’ on the 22nd of September, with each track on the album going hand in hand with a clean cut/edgy video generating a lot of interesting publicity around her new releases.  Another interesting release this year was from ‘All American Rejects’ with their EP on the 7th of July, with one combined extended film of the two tracks entitled ‘Sweat’ and ‘Close Your Eyes’. This extended film was successful in the way that it relates to many people in terms of finding their true identity through exploring different genders as well as coming to the harsh reality that some people only want to associate themselves with you to benefit themselves and not to form a true and valid friendship. The lead vocalist Tyson Ritter stated “to me ‘Sweat’ was a little deeper than what it sounded like and I wanted to make sure that we had a visual that exemplified that”. The realistic visuals and characters Ritter played within the film put a very personal touch to the extended film. The concept of the visual album is crucial as a marketing tool in the development of the musician as an artist and a valid extension of their meaningful lyricism to help the fan identity and relate to their icons in a more in-depth way.

Words: Sophia Day

BBC Amplify Review

Industry News, News, Uncategorized

Marking 10 years of BBC Introducing, Amplify became the first music convention of this size to take over the Excel, London with over 100 sessions and 250 guest speakers. It homed a variety of masterclasses, performances and Q&A’s making it valuable for all musicians and anyone willing to pursue a career in the music industry.

On Sunday 8th October current Music Journalist student Louise Tindall, ventured into London to attend the BBC Amplify event. Here’s what she got up to.

After a morning of learning skills on protecting your voice, creating a sound and how to run a campaign with a low budget, The Hunna kicked off the afternoon in The Journey Theatre with a panel hosted by Radio 1’s Phil Taggart. After expecting the hour not to be particularly useful, I was pleasantly surprised by their willingness to talk about the criticism they’ve received from their social media presence and how they’ve gone from nothing to selling out the O2 Academy, Brixton in just two years. They spoke in detail about their previous musical endeavours, how they believed that to have helped them and why growing up together has allowed them to connect with fans. Joined onstage by their manager, they spoke about being forced to delete all previous online accounts until they had over 500 songs written and were deemed ready. After opening up to audience questions, they continued to discuss whether they wish they’d done things differently and how other artists could go about having a similar impact.

Following on from this was the ‘I can’t get you out of my headline’ panel featuring the editor of NME, Gigwise and the founder of Popped Music. Here they focused on how, from a journalists’ perspective, was best to get your demos noticed and featured in their relevant publications. They talked heavily about the difference between being persistent and being annoying in relation to how many times you send them your work as well as highlighting the importance of targeting the right brand.

After more mingling and demo sharing the day came to a close with The Hunna performing a short, fifteen-minute set on The Amp stage, attracting a large crowd of artists ready to further their careers.

Words by Louise Tindall

Edited by George Kennedy



Industry News, News

Not too long ago we were saying goodbye to Metal Hammer, Classic Rock and Prog Magazine as Team Rock were to be no more.

In a series of fortunate events however Metal Hammer has been bought, saved and will be returning to the shelves of your local retailer on the 10th of February. Their comeback issue will feature an interview of Ozzy Osbourne by M. Shadows from Avenged Sevenfold.

metal-hammerJust before Christmas when we found out that Team Rock was being shut down a JustGiving page was set up as the staff were left with little to no hope of redundancy. The page’s target was to be £20,000, enough to give each staff member a £1000. The completed total of the page came to £88,760 which is a massive 443% over target, well done to everyone that was able to give.

For Metal Hammer there was a light at the end of the tunnel and so from everyone at The Wave, welcome back and good luck!

Words by Jonny Page

The Sun Mugged Off By Cabbage

Industry News, Uncategorized

The Sun, you know that pathetic excuse for a news source? Well they decided to create a band and artist ‘top tip for 2017’ list, very similar to the BBCs.

To add to their accumulation of mistakes, they decided to put Manchester band Cabbage on their list, this was their response:

Screen Shot 2017-01-02 at 23.26.58.pngI think their words say all that needs to be said and from everyone here at The Wave, we applaud you Cabbage.

Words By Jonny Page


Industry News, Uncategorized

Hailing from the streets of Tottenham, Joseph Junior Adenuga, an English grime MC who goes by the stage name SKEPTA, has won this year’s mercury prize for his Konnichiwa album.

The first time I listened to SKEPTA’s music was in 2011. Driving in a car from the airport to a home in Dagenham, I heard Amnesia as his first grime song. I was hooked by his way and flow on the beat but also how I could vision his words.  That same year, 3 of his singles charted in the top 40 of UK single charts. Doing it again stayed for 3 weeks on the top 100 albums. As time went by, SKEPTA got better at his craft and decided to be done with the road life and drugs to fully concentrate on his music. In early 2014, he released That’s not me featuring his brother JME which has won the MOBO awards 2014 for best video.

SKEPTA, being the humble person he is, didn’t want to be a part of the mainstream and follow the dress code like everyone else. Thus, he came to the MOBOs in all black tracksuits with his whole crew BOY BETTER KNOW. This created an uproar towards the audience as it gave a bold look and saw it as violent and scary. He dressed bold and black because he wanted to show the world what Grime is – not only a couple of sick metaphors and catchy English slang, but showed that Grime was a part of who he is. Grime wasn’t a lifestyle, it is a way of life. People in the audience were shocked –  for what reason? The reason I feel was that he came real. It wasn’t fake, it wasn’t for an act or image. He just truly came as himself whilst a lot of Grime artists follow and imitate American rap.

SKEPTA, however, didn’t’ do this. He stuck to his roots coming from the streets. He showed the whole world that even though he is up there, he is still a part of something and from a place that people still stereotype. As part of LEVI’s Music Project, Levis and SKEPTA partnered together in creating a community youth music facility in his hometown of Tottenham, North London. The Levis music project has joined the V&A museum exhibition of “You say you want a revolution? Records and Rebels 1966-1970.” The project has educated participants in aspects of building a music career in the modern digital age – which is what I am currently into, studying music marketing and promotion in UCA. After the exhibition, SKEPTA and 12 young artists who have been working together have performed at the V&A as part of the “Revolution weekender”.

Check out SKEPTA and BOY BETTER KNOW perform at the Alexandra Palace, London on 2nd. December.

Words: Jamal St Hill