For many people, myself most certainly included, one of the central events of Christmas is the televised service of Nine Lessons and Carols from King’s. As soon as that solo of the first verse of Once in Royal David’s City begins you know that the big day is just hours away. You may imagine that the service and the singing has been pretty much the same for decades. Is that true though? For many years the choir has actually been honing and adjusting under their directors of music. In the 50s and 60s that director was Sir David Willcocks, and that is the era from which these recordings are taken. Even though this Reader’s Digest vinyl is dated 1983, if you look at the dates of the recordings, they come from a six year span between 1959 and 1965. As you can see from the track list the usual crowd pleasers are there. As the carols themselves need no introduction, I will concentrate on the singing and the atmosphere of the season they evoke. So, let’s have a listen.
Side 1
Once in Royal David’s City starts with the solo which is almost too quiet to hear, even with the volume turned up higher than usual. It accentuates the ethereal, haunting nature of the solo which affects me anew every time I hear it. It is one of those musical set pieces that does not get old, however many times you hear it. By the time the full choir comes in and the music from the organ swells along with the voices, it has worked its yearly magic once again. I think it is The First Nowell that really gives you the clue as to the difference between the choir 60 years ago and now. There are very few of the descants and variations of voices that today epitomises the way that modern choirs express their musical virtuosity. The First Nowell, for example only delivers a descant on the final verse. Instead, you have a straightforward but beautiful choral rendition of favourite carols that sound like those you would sing yourself in a church service. I think that was expected in a time when a very large proportion of the population would have attended carol services and would know what they expected of a song. O Little Town of Bethlehem is quite simply a beautiful tune and it is delivered in a multi-layered style where the boys voices are joined softly and subtly by those of the older choristers. Yet again, only the last verse branches out into the descant. As a variation, While Shepherds Watched has the alternation of the descant, which appears on the second and fourth verses, and the familiar tune, and works very well. In Dulce Jubilo is slow, stately and simply beautiful. O Come All Ye Faithful is sang with style and grace and sounds very different to when I belt it out! However, it is easy to imagine yourself comfortably singing along with this, despite your relative lack of vocal prowess. In that sense it is different from, say, the use of sopranos to sing the anthems at rugby matches meaning that the crowd, who are very definitely not sopranos in the main (!) find it almost impossible to sing along with any comfort.
Side 2
The second side, which I would characterise as largely a choir only side where the choir demonstrate their versatility, starts with the rarely sung I Saw Three Ships. At least my perception is that it is more rarely sung. The alternate verses taken by boy choristers and adult choristers just works perfectly for a carol that the congregation itself usually just listens to. The first unfamiliar carol to me is There Is No Rose, a traditional carol that sounds as though it originates in the 16th or 17th Century. It is a beautiful carol that simply washed over me. The other carols follow a similar pattern as they demonstrate the breadth and depth of the choir’s singing. God Rest Ye Merry Gentlemen is one of my favourite carols due to its association with A Christmas Carol, and rarely have I heard it more beautifully delivered than it is here. After six carols that you can just listen to and admire, the final one is my absolute favourite, the fantastic Hark the Herald Angels Sing. For me, it is the epitome of the crowd pleasing nature of any carol service. Whenever I sing it, I do so loudly and extremely enthusiastically! This final tune finishes off an album of carols that for me cannot be improved upon.
Should your appetite be whetted by my review, you can find it on Discogs !
Blogmas Day 2
So, yesterday I looked at the first three years of my Primary school experience as I moved from school to school on an annual basis. This post reflects upon the last three years as I settled into the only school I ever felt a part of. Once again, we have songs from a wide variety of cultures that, looking back, probably helped to shape my eclectic approach to music all these years later. Some of the songs will be instantly familiar, some will jog memories, and some will have disappeared into the ether and possibly the internet altogether. Why is that I wonder? Well, fashions change and many songs that were on the lips of people 75 or 100 years ago are now forgotten by all but the cultural magpies. Incredible though the internet has been at reconstructing our history, it is only as good as the people who want to write about it. As before, if a song fails to register on a search, I will put the sheet music on here in the hope that someone can play and hopefully post the tune somewhere.
Autumn 1973
St Andrew’s School Rochester 2nd Year Juniors
As ever, there were five festive themed tunes from five different cultures. We start off with All Bethlehem’s a-blazing which comes from Spain. This is another song that has slipped down the back of the internet, and I don’t remember it from the lyrics, good though they seem to be, so below is the sheet music.
Lullabies seemed to be popular, especially at Christmas time, and from Mexico we have O Sleep My Pretty Baby. It was not the type of song that would have appealed to me too much at the time, but having found it on YouTube and listened to the lovely rendition below, I can imagine that some of the more adept singers at St Andrew’s would have done very well with this. It is definitely a song for a child to sing but there is also an instrumental version by Yolanda Kondonassis on the harp that is ethereal.
Next, we return to England for Up! Good Christen Folk, a carol based on bells as a couple of the more famous ones, Ding Dong Merrily on High and Carol of the Bells, are. Again, the tune doesn’t stir any memories, but in this version from King’s College Cambridge it sounds gorgeous. At various points as you can hear, you have to stretch a single word over four beats, which I do remember annoying me on any song, because I couldn’t see any point to it. To be fair I still can’t!
Next is an absolute favourite of mine that I recognised instantly as soon as I turned over Sting’s 7″ single, Russians, and put the stylus on the B Side. At the time, I had no idea why I knew it, but all these years later I found out. Gabriel’s Message is a brilliant singalong carol, from an Old Basque Melody apparently, and I don’t know why it doesn’t appear far more regularly at carol services. Good though Sting’s version is, I have chosen the Charlotte Church rendition from her Christmas album, Dream a Dream, which I cannot recommend highly enough.
Our final stop on the global odyssey in 1973 was Czechoslovakia from where the Cuckoo Carol hails. Well, it might hail from there, but it doesn’t seem to have made it onto the world wide web. There are other songs bearing that or a similar title, but this particular one doesn’t seem to appear on YouTube at all. As before, it’s over to you.
Autumn 1974
St Andrew’s School Rochester 3rd Year Juniors
Excelsis! Gloria! is a carol that mentions the Walloon language so it’s reasonable to suppose that it comes from Belgium. However, the Singing Together booklet doesn’t give this information, and it seems like it dispensed with the origins of each song on the listing from here on in. This is quite frustrating given the assistance it was in pinning down the derivation of the songs. However, it probably wouldn’t help me because this is another song that the internet forgot. I typed in the first line of the lyrics to find more details, but the only hit I got was from someone who had got them from Singing Together. Over to you for the sheet music below.
The next carol is The Cherry Tree Carol, which, according to The Child Ballads has fourteen verses. Luckily we were only expected to sing five! The Child Ballads, by the way, was one of a set of 305 ballads collected by Francis Child in the 19th Century. It’s quite a fascinating story which you can find here if you are interested. So, I went on to YouTube to find recordings and this time I was in luck. There are any number of recordings from a diverse range of artists. I chose the Shirley Collins recording from 1959 which seemed most representative of what we might have sung.
The Carnal and the Crane is a conversation between two birds about the birth of Jesus and is Child Ballad 55, following directly on from the previous song, Child Ballad 54. As with the previous song some cutting down was required as the original version had no less than 30 verses! I chose a version by Maddy Prior, famous for her work with Steeleye Span, a folk group that had one Top 10 hit with the song All Around My Hat in 1975. The album this comes from features Christmas music which her band plays on Renaissance Instruments that were common in the 15th Century. It was definitely a tune that jogged some memories. Presumably it was in there somewhere because it was a song I enjoyed singing.
The Search for Lodging is the exchange between Joseph and the Innkeeper when they get to Bethlehem and are looking for a place that Mary can give birth. As with most of these two character songs I can imagine that we took it in turns with half the class taking Joseph and the other half taking the Innkeeper. The original carol comes from Mexico and was sung in Spanish with the title Pedida de la Posada or perhaps simply Las Posadas. As with a couple of other tracks, I have found some difficulty in tracking down the English lyrics, so this time I thought I’d choose the Spanish version so you can hear the lovely tune which does sound vaguely familiar.
The final carol for this year was Jesu is Crying which does not appear anywhere as far as I can tell, even in the form of lyrics, so the sheet music is below.
So that is it for 1974, a fairly unremarkable year with no instantly familiar carols I’m afraid.
Autumn 1975
St Andrew’s School 4th Year Juniors
So, on to my final year of junior school. The Autumn Term wasn’t one I remember with any fondness, the only one of my 9 terms at St Andrew’s that I can say that about. I was moved to the other class (we had two in each year group) which was, I think, seen as the top class. Unfortunately, it was a class where I didn’t really fit in as I was very much the outsider in a tight knit group. Luckily for me, I was moved back to my old class with my friends in the New Year as the school realised quite quickly that I was struggling. Anyway, was there anything to hold my interest in the Christmas songs of Autumn 1975? Well, straight off the bat we have The Carol of the Drum, also known as The Little Drummer Boy with its instantly recognisable ‘Pa rap pa pa pum’ refrain. I absolutely loved this carol and still do as it carries memories of getting lost in the music when everything else around me was becoming more difficult. It is a song that you can’t help getting lost in, or at least I couldn’t! Here is a live version of the track from Charlotte Church’s fantastic Dream a Dream album.
Masters in this Hall is an English Carol written by William Morris to an old French tune. It was one that I recognised instantly as soon as the music started playing. It’s a fantastic tune and one I must have enjoyed at the time to have such a clear recollection all these years later. It’s stirred another memory, vague though it may be of the classroom I was sitting in at the time, a room I hadn’t been able to picture in my head for years. The version I have chosen is by The Robert DeCormier Singers. I hope you enjoy it as much as I do.
The next carol is the Tyrolean Cradle Song, another lovely tune in a term packed with them. This one doesn’t stir any obvious memories, but it’s definitely a carol that I can imagine being sung as an alternative to Away in a Manger as it covers a similar subject area.
The next carol in this book and another anthropomorphised carol of my Singing Together journey is Hey Little Bull. As children we often enjoy songs and stories where animals are given human personalities or thoughts and this is a good example. Once again, it is a tune that I definitely remember. It’s catchy and easy to follow and in that sense an archetypal Singing Together song. I had difficulty finding a vocal rendition but YouTube came up with one of those oddities that it seems to specialise in. Here we have a recording from Great Moor Primary School in 1981 that someone has fortunately been able to save for posterity on YouTube as it’s the only version I can find that has singing!
We now move on to the final song in this journey through Christmas via Singing Together. It contains the story of the shepherds recounted in the bible and in many carols. Thinking of bible readings, I was chosen to read from one of the gospels for our Christmas service that year. Commander Starkie, the headmaster, chose readers in the most unusual way you could imagine. He made us go down the stairs from his office to the next landing and read a script out. If he could hear us through a closed door without us shouting then we were in. My loud voice for once paid dividends and I remember being very proud when I read the lesson at the end of that term. Anyway, back to the song. It isn’t one I remember, but given the strike rate on the rest I can definitely say it was a good term’s work from the Singing Together compilers.
So that’s it. Thirty songs over two days, most of which I have been able to find in some form on the internet. Some were instantly recognisable from later years and, quite unexpectedly, some rushed back to the forefront of my mind as soon as I heard the first few notes. In some cases, they even brought back memories of my old classrooms. For me, music is a time travelling device like no other as I can associate people and places with the different songs so readily. I hope you have enjoyed reading these articles for the first two days of Blogmas and that some of the carols brought back memories for you. If you can fill in any of the gaps I would be incredibly grateful, so any musicians who would be able to play the tunes for me once again, please get in touch.
Blogmas Day 1
I have previously taken a look at Singing Together in a blog from earlier this year and I mentioned some of the Christmas songs I was introduced to over 6 years of fondly remembered singing in class. For these first two days of Blogmas I will be taking a song by song look at the Christmas songs that appeared in the Autumn issues. Some of these songs have disappeared from the face of the internet, but for those I will include pictures of the sheet music in the hope that those who are able to read it might be able to reconstruct the tune. Well, why not? I know an awful lot of talented people! So here goes with the carols and festive songs of Singing Together.
Autumn 1970
Potterspury Primary School 1st Year Infants
The Autumn 1970 Singing Together booklet contained 5 Christmas themed songs. The first one, The Child’s Carol is absolutely nowhere to be seen on any search term, so I can only assume that it has fallen completely from favour. So, below is the page with the accompanying music which I hope someone could reconstruct.
The Yodler’s Carol does, however, appear both on YouTube and also on music sites with lyrics that match perfectly. I can see why it appeared in Singing Together, because in many ways it’s an archetypal Singing Together choice, a brisk and cheerful tune together with lyrics that actually stretched a primary school child in terms of content. Having listened to it, I can say that I enjoyed it and that there were flashes of memory when I heard the chorus. Here it is from YouTube.
The next song, The Twelve Days of Christmas, is, of course, universally familiar and a great song to sing for all ages. It is also, a very good song to test your memory, although I remember getting geese, swans, lords and drummers mixed up for years! Here is my favourite version as a kid, from one of the few albums my parents owned. It’s English folk group, The Spinners.
The Huron Indian Carol is another carol, like The Yodeler’s Carol that definitely jogs memories over 50 years later. Here is an absolutely gorgeous rendition from Sarah McLachlan.
Finally we have the beautiful See Amid the Winter’s Snow that barely gets played or sung these days at carol services which is a real shame. It is a carol that simply needs to be heard and sung far more often. When I heard it as an adult I just knew it was familiar from somewhere. It’s another song from Singing Together that shaped my musical hinterland.
Autumn 1971
Bligh Way Primary School 2nd Year Infants
The 1971 Autumn Singing Together had five Christmas songs from the usual variety of backgrounds. First on the list was The Holly Tree (Y Gelynnen) a Welsh folk song that is perhaps more tangentially attached to the season. Once again, you look at the lyrics and realise that they were quite a stretch, content wise for the average 6 year old – as I was then – or even the average 11 year old. However, it was very common for children’s programmes to assume a wider vocabulary back then as you will see if you watch clips of 1970s television aimed at a younger audience. Well, I wandered around YouTube for a while listening to all the different versions, searching for one that gave the proper Singing Together vibe. The instant recognition of the tune really took me aback, because it was there in my long term memory just waiting for the synapses to be triggered again! The version I chose was from the YouTuber ‘threelegsoman’ who has recorded videos of the lyrics and tunes for a number of Singing Together songs. So here is The Holly Tree.
Next, is Lullaby for Baby Jesus. A Christmas carol from Brazil, to follow one from Wales. The compilers of each term’s songs had huge musical hinterlands, of the type that have perhaps changed beyond recognition over the years. In a sense, they were aural historians who were saving tunes and lyrics for posterity. It has beautiful, tender lyrics that make it perfect for Nativity plays. I wonder if it was used by schools for that purpose at the time? Whether it was or not, it is another carol that has been overlooked by the internet, so below you will find the sheet music in the hope that someone can reconstruct it.
The Linden Tree Carol is next, a song with a German tune. The words are traditional and full of references to the Virgin birth. I don’t remember this one, and even when hearing the tune, no memories were jogged. Anyway, here is a beautiful rendition from Max Thomas, a boy soprano.
The Zither Carol is a Czech folk song with lyrics by Malcolm Sargent and, once again, not one I recognise. The pace and the complexity of the words, however, indicate that it would have been very tricky to sing for primary school children, so perhaps I just didn’t take to it. In this version by St Albans Cathedral Choir, it sounds absolutely beautiful.
The final Christmas song from 1971 is one that I absolutely loved. Mary had a Baby is a carol from the West Indian island of St Helena and I remember singing it with gusto. We were encouraged to sing it in ‘the style of’ West Indians, a move that would definitely raise eyebrows now, but at the time cemented it in my affections. It’s a jaunty tune, and one you could learn very quickly, a carol just right for belting out! Here is a version that captures its energy and power.
Autumn 1972
Cobham Primary School 1st Year Juniors
So, on to 1972 where we had settled, temporarily into the village of Cobham in Kent. This year’s Christmas songs included a very famous carol from Wales, one song described in very 1970s terms (!) and three European carols. So, let’s start with Rise up, Shepherd. It’s based on a spiritual so in a sense the choral versions don’t really come close to reflecting the way that we would have sung it on Singing Together. Luckily, this version by John Gary is nearer to what we might have sung.
Fum! Fum! Fum! is not a Beach Boys misprint, but a Catalonian Carol. Singing Together lists it as a Spanish Carol, but I imagine your average Catalan might have something to say about that! It is bouncy and infectious, with a round sung in this recording, although I think it’s more likely that we would have sung it as a straightforward song. I could never get the hang of ’rounds’ because by the time you have three or more sets of voices joining in, I ended up getting confused which round I was supposed to be singing.
Now for the Welsh Carol, and I had forgotten that it came from Wales, the marvellous Deck the Halls. Strictly speaking, I suppose, it would be more associated with the traditional pagan celebrations of Yuletide given that there is no mention of Jesus, but plenty of mentions of feasting and drinking! Looking for versions of this Christmas staple I wanted to find something a bit different and The Muppets always are!
The Two Shepherds was a German song that split the singing into two parts. I have a very vague memory of the boys singing one part and the girls singing the other. Now, I can’t find anything on the net with the original lyrics but this version is clearly from the same stable (!) as the lines paraphrase the original that I would have sung. As before, no real memory of this exact song, but here is the version from Heidi Grant Murphy.
Finally, we visit Poland for the Lullaby Carol. There seem to be a number of different translations for the original Polish lyrics, so the words are often quite different to those in the book. It makes sense, therefore, to go back to those Polish words which sound absolutely beautiful.
Well, that’s the first three years of my Primary school journey. It has been a joy to revisit some songs that I remembered instantly and some that brought back strong memories of my childhood quite unexpectedly. If any of my talented friends would like to fill in the tunes for the two missing carols, that would be amazing. Join me tomorrow for 1973 – 1975.
For the second year I will be taking part in Blogmas. Although last year was a bit hectic at times, I was able to keep up with my entry schedule by writing some in advance and having clear ideas on where shortcuts were on the rest. The whole process was great fun and I got some great feedback on the entries. I will not be repeating any entries from last year, although there may be some crossover. As I did last year, I am setting down my Blogmas schedule now so I have an incentive to follow it! Hope you find some of the titles below to your liking. If you do, I love to read comments on them and always reply.
December 1 Christmas Songs from Singing Together 1970 – 1972
December 2 Christmas Songs from Singing Together 1973 – 1975
December 3 Carols at Christmas King’s College, Cambridge Choir Vinyl
December 4 A Partridge Family Christmas Card Vinyl
December 5 Jon Anderson 3 Ships Vinyl
December 6 Book at Bedtime A Christmas Carol Martin Jarvis and Denise Bryer Cassette
December 7 The Signalman Re-watch
December 8 Lost at Christmas Re-watch
December 9 A Christmas Carol 1984 Re-watch
December 10 Scrooge 1970 Re-watch
December 11 My Christmas Singles
December 12 The Bishop’s Wife Re-watch
December 13 Christmas TV 1975
December 14 Christmas TV 1977
December 15 Blue Peter Eleventh Book Re-read
December 16 One Foot in the Grave Who’s Listening? Re-watch
December 17 The Good Life Silly but It’s Fun Re-watch
December 18 The Wonder Years Christmas Re-watch
December 19 Ever Decreasing Circles The Party Re-watch
December 20 Eternal Peace Gregorian Chant for Christmas CD
December 21 Christmas Cookbooks and Favourite Recipes
December 22 The Role of Family Christmas Traditions
December 23 Christmas Yet to Come
December 24 The Changing Face of Christmas Music
December 25 My Christmas Message
Extended Review Part 1
Thrones EP by Karmaa
I wanted to start this review with a shout out to Karmaa’s regular collaborator, the producer FPN Norway. He has been working with Karmaa for 5 years, and there is no doubt that his ability to give her the widely diverse sounds you hear on every track has been a key part of Karmaa’s rise. It has kept the music fresh, interesting and constantly surprising. You can hear the partnership in every bar and never more so than in this new EP. It is often the case that producers go under the radar, sometimes through choice, but FPN Norway is an integral part of the Karmaa sound and the Karmaa story.
King & Queen
The opening track of this EP sets the tone for what’s to come. Fans of Karmaa have always known that she’s determined and that she uses knockbacks and detractors as fuel to her fire. She’s never made it as clear as it is here though. The lines come thick and fast, angry, funny and often both as she unloads on those who doubt her.
Karm-Double-A/Movin’ like a boomerang/Got y’all mad cause when I fall/Always get back up again/I know the love is fake/It’s always laced and full of hate.
This is just a flavour of the defiance and disdain she unloads in this urgent stream of lyrics that have become her trademark. What saves this from becoming a diatribe is the knowing tone of voice that says, ‘Y’all not sure whether to take me seriously or not, are you?’ Karmaa is really treading a tightrope here and I don’t think many artists could pull this off quite so effectively.
In My Hands (OMW) ft Ripjacub
The second track features a fellow Texan, Ripjacub, who brings a very different flavour to this track. It has a really laid-back vibe which allows both artists to show their ability to make a song fly. They duet with real sensitivity and their bars blend together perfectly as the song takes shape. The contrast with the opening track could hardly be greater, and yet it represents a counterpoint to King & Queen by showing Karmaa throwing off the weight of hate and reflecting on the other side of the coin. Anyone who has listened to Karmaa knows that she is as adept when rapping about positive emotions as negative ones, but this track is perhaps the best example of this so far in her recording career. I feel that this may not be the last collaboration between Karmaa and Ripjacub as both bring their own strengths to the partnership and give each other a perfect foil to demonstrate their skills.
Sunken Ship
The third track is a satisfyingly old school sound combined with superb lyrics reflecting the modern dating game in all its fluidity. However, at the heart of the song is a timeless theme of wanting someone who isn’t good for you. Whilst the other person is living a life of moving from one lover to another, Karmaa’s character who was stuck on the wrong person and the wrong relationship has also moved on, albeit sadly.
Though you’re gone I’m here if you come back again/Only as friends cause I don’t want another sunken ship/The heart wants what it wants but I wish it didn’t.
As ever, Karmaa gets right to the heart of things in the dating game, reflecting the timeless fact that you can’t control what your heart does, but sometimes you have to make your peace with it and move on.
Nobody Above Us ft Lowkea
Lowkea is an artist who covers all the bases musically and is equally at home with rock and pop as well as rap. With both artists autotuned it gives the song a really interesting effect where the personal and the technological blend together as if the artists are seeing their situations from outside. Their different rapping styles blend perfectly to create another ode to defiance. The lyric that made me laugh was
God bless my haters/Who see me as Darth Vader/Luke I’m ya father/Here for now but not for later
Karmaa has such a sharp wit and this really shines through here.
Throne, Crown, Gold
The final track on this EP is Throne, Crown, Gold and it is a meditation on the path to success. Delivered very reflectively, the contrast between the beautiful music and the occasionally angry lyrics is just amazingly effective. Karmaa compares herself to two very different people here in another amusing verse
Stackin’ Cheddar, I’m the header/Cause I stay at the top like Roger Federer/Call me Khaleesi cause I’m burning every bridge.
The juxtaposition of these two unexpected comparisons keeps you on your toes as a listener. In essence though, this is a song of ambition delivered to Karmaa the person by Karmaa the artist. It is perhaps the most surprising song of the five but it wraps up this incredibly strong and mature EP from an artist who is continuing to grow apace. With any justice, real success should be within her grasp.
Extended Review Part 2
David’s Questions for Karmaa
- For anyone who doesn’t know you, who is Karmaa?
KARMAA is only a small part of who I am and was brought here to be. Music has been a part of who I am since I can remember. It’s like breathing for me. Whether I’m listening to the radio, creating music myself, or even thinking of lyrics, music just stays in circulation. It’s how I communicate my deepest thoughts, my every goal, and my biggest fears. I am a big advocate for mental health awareness, equality and paying it forward.
I intend to be a difference maker and a leader of change. I’ve never been one to stick to the rules and never intend to follow the crowd. I was raised to be who I am and to be proud of it. My ultimate goal is to inspire the uninspired and change lives by being able to relate to others and talk about “taboo” topics that others don’t like to or won’t acknowledge and speak on such as being queer, battling depression and anxiety, having had suicidal thoughts, etc.
Being part of the LGBTQ community I want those discovering themselves to know they’re not alone. This has heavily influenced many of my songs and is a known fact about me. I want people to know that it’s okay to be proud of who you are and love yourself. Show your pride and never be ashamed of it. Live and love your life, love yourself and others shamelessly, and embrace who you are. There’s only one you, flaunt it.
- What were your main musical influences growing up and how have these fed into your music?
I love 80’s and 90’s music. From Salt & Pepa to Aaliyah to En Vogue to Erykah Badu all the way to Pat Benatar. I have always been obsessed with TLC and Missy Elliott’s music, videos, style, swag, confidence. I just feel like artists back then were unique and shamelessly themselves. I love that. That’s what inspired me. That’s why I promote self love, positivity, mental health, and most importantly just being who you are because there’s only one you!
- What is your new EP about?
“THRONES” delves deep into the realms of ambition and self-discovery. The EP serves as a testament to KARMAA and FPN norway’s unwavering dedication to personal growth, their unyielding will to succeed, and their relentless drive to be the best versions of themselves.
Through their poetic lyricism and captivating beats, they take listeners on a rollercoaster ride through the complexities of love, from the intoxicating highs to the heartbreaking lows. Every track is a reflection of their inner journey, inviting you to connect with their stories and find your own within them.
KARMAA and FPN norway’s chemistry is palpable, with each song on “THRONES” showcasing their synergy and creative prowess. The EP is a reminder that greatness lies within, waiting to be realized, and it’s a call to action for all who dare to chase their dreams.
But what truly makes “THRONES” an exceptional musical experience are the incredible features from Ripjacub and Lowkea. Ripjacub’s collaboration on “IN MY HANDS (OMW)” brings a mesmerizing synergy to the track, blending his unique style seamlessly with KARMAA and FPN norway’s artistry. His lyrical prowess and distinctive delivery amplify the emotional resonance of the song, creating a powerful narrative that resonates with listeners on a profound level.
Meanwhile, Lowkea’s contribution on “NOBODY ABOVE US” is nothing short of sensational. Lowkea’s distinct voice and lyrical finesse infuse the track with an unparalleled energy, elevating it to anthemic proportions. The chemistry between Lowkea, KARMAA, and FPN norway is electric, resulting in a collaboration that leaves an indelible mark on the EP.
With Ripjacub and Lowkea by their side, KARMAA and FPN norway have crafted an EP that not only showcases their own artistry but also pays homage to the incredible talents of their featured collaborators. Together, they create a musical tapestry that is both compelling and unforgettable, making “THRONES” a must-listen for music enthusiasts everywhere. Get ready to be captivated, moved, and motivated by the magic of “THRONES.
- You collaborate with many other artists and producers, more so than any other artist I’ve followed. How does this help your music to develop and who would you like to collaborate with in the future?
I love to collaborate because it’s not only a way to connect with others but also a way to challenge myself to create, write and gain a new perspective on life, music and others. Everyone is different and everyone is talented in their own way. To not collaborate with others would only hold me back in opinion. Working with artists like FPN norway, Corri, the men of TTO, Lowkea, A2thaMo, Clayto, B-Funk, Ripjacub has helped me improve and grow as an artist. Each of them is unique and provides music with a different sound, flow, perspective and I think it’s important to showcase each of them for that reason. To work with producers like FPN norway, Smoke Gzus, Ellipsi, Johnny Xodus, Clayto, B-Funk, King Madi, Christian Sombra, A2thaMo, Madame Jae, Ntrospec, Maya Mida, Sweet Speaker, Chasing Haze, Semidubs and INSMNC has allowed me to create freely and not be boxed i to any one genre. Every track shows growth and progression and that’s something I’m proud of and grateful for. Each name mentioned has contributed to that progression and that’s something I’ll forever be in debt to them for.
- What is the best and worst thing about making your way in the music industry of today?
The best part is that there is an ear for every artist. 10 solid fans is better than 10k followers who don’t engage with your music. When you find your target audience and they cling on to you, it’s special. The relationships you build and the friends you make truly make chasing this “unrealistic dream” very much your reality. People get too caught up in wanting fame, money and materialistic items rather than just creating for love of music and that’s the worst part of the industry. Record labels taking advantage of vulnerable artists by selling them lies as a means for them to basically sell their livelihood is disgusting. READ YOUR CONTRACTS BEFORE SIGNING! IF IT SOUNDS TOO GOOD TO BE TRUE, IT IS!
Karmaa’s Questions for David
- What age did you fall in love with music?
I remember being drawn to all different kinds of music from a very young age. The first song that made a huge impression on me was Vincent by Don McLean. I have always been drawn to songs with a story at their heart, and that track was so special to me at the age of seven. I think it was then that I realised that I needed music in my life as a central part. I can’t play an instrument and I am just about an OK singer, but I can put into words what a track or an album says to me with heart and sincerity, and that will always be my way of keeping the music central.
- What were you expecting to hear when I sent the EP over?
I was expecting to hear brilliant tunes, superb lyrics and a set of songs that would make me think. I also expected to hear further growth in Karmaa the artist. You were 4 for 4!
- Which song stood out the most?
Throne, Crown, Gold because of the way you chose such a different tune and the way that the song was delivered. It showed a side of you that really resonated with me.
- Were there any lines that stuck with you?
Though you’re gone I’m here if you come back again/Only as friends cause I don’t want another sunken ship/The heart wants what it wants but I wish it didn’t. I think those feelings are universal, but I’ve rarely heard them expressed so brilliantly.
- What would you like to hear from me in the future?
That you are touring the UK! Failing that, I would love to hear you cover some songs from your musical influences. You could definitely bring something very different to those old school songs. Karmaa’s take on Love is a Battlefield would be fascinating. I know that whatever I do hear will be excellent. Oh, and finally, as a physical media collector I would love to see CDs of the Queen of Hearts album and the Thrones EP if that’s possible.
David Pearce - Popular Culture and Personal Passions 