The art of storytelling, as Teej puts it, is an important factor. It’s not just socio-political messages that dance music generally lacks in 2014, but any sort of narrative at all. Partly that’s down to a trend away from vocal tracks in recent years. Instrumental music fulfils its own function, but in terms of overt literal meaning it’s hard to get far without lyrics. Someone who has very much bucked the trend against vocals is Seven Davis Jr. His breakout hit was the vocal-led ‘One’, and the fact it stands out as an exception to the norm proves how rare a track with singable lyrics actually is in 2014. “Even singers in the pop world have been fooled by reality TV and they have no clue as to what route to take to gain artistic freedom of expression,” says Amir Alexander, touching on the point that music, even in wider terms, seems ever less politically charged than in the days of Bob Dylan or Marvin Gaye, or even the more recent likes of Rage Against The Machine. “They’re who we need to attract – more Seven Davis Jrs defecting from pop is what we need.”

“The pre-internet days made it easier for artists to discover the underground and their place in it,” Alexander continues. “When the scene is more diverse and democratic we don’t have this problem of homogeneity and conformity. Community, self-accountability and unabashed creativity need to come back into fashion and then we can really get to the business of advancing the art form.”

“The music industry is guided by a lot of artificiality,” adds Teej. “It always has been and always will be. It’s a part of a grander societal misdirection happening in the world today to keep people from being too upset with its current state. I’m not sure people talking about ‘popping bottles’ really are that aware of what’s going on in the world, nor do I think they even care. That apathy is what artists like myself despise, and is the thing we have to try and break with material that has a more positive message.”

Clearly, Teej is someone who feels a responsibility towards his audience, or maybe just towards himself: a responsibly to use his voice for good, or at least to use it for something more than ad-libbing about champagne. The problem is, it seems he’s in the minority, because nowadays fewer people than ever want to stick their neck out and sing about something out of the ordinary. “I think all music has a responsibility to mankind,” says Roy Davis Jr “There’s music for sorrow, there’s music with a positive message or there’s just music to make you dance and be happy. But the political side helps open eyes to something that may be going on in the world that people never may have realised.” In a recent interview with Resident Advisor, the Uzuri label and agency boss Lerato Khathi echoed the sentiments. “I strongly believe that being an artist or a public figure comes with responsibility. You owe it to your supporters and audience to promote diversity and tolerance for the greater good of the world.”

It's a part of a grander societal misdirection happening in the world today to keep people from being too upset with its current state

Finding a way to do this in a palatable fashion may be the biggest challenge nowadays. “Too much political posturing, or too obvious messaging, will put some people off,” says Teej. “There are many social ills that could benefit for having a little light shed on them, of course,” Alexander adds, “but to do it just to do it serves no purpose. And anyway, you don’t see too much of it right now because that is now where our collective head is: as a scene and movement, it’s quite difficult to discern if there’s any true longing for social change right now (or artistic evolution for that matter). With the exception of a few rays of light, we seem to be stagnating in triple-stage darkness at the moment.”

“It’s hard to say that electronic music should be more socially or politically aware,” says Giles Smith. “An advocate of this might say that it could be a way to reach young people who may not respond to traditional forms of media – who may not switch on the news or read the paper or have awareness – but who might pay attention to dance music. On the other hand, it’s also about release, positivity and having fun. Ultimately, who cannot be inspired by positive messages, especially when it’s put with really great music? If the music is dope and there’s a great message, then that’s a truly potent force – look at the more intelligent forms of hip-hop – but I don’t think it’s that evident in dance music today.”

With the exception of a few rays of light, we seem to be stagnating in triple-stage darkness at the moment.

Vocals are not always en vogue – it would be hard to imagine an abstract minimal affair from 2008 with a rousing vocal on it – but maybe it’s impossible to get far without them; there’s a limit to the extent you can promote a social message while making instrumental music. When good vocal tracks do come along – think Seven Davis Jr once more – people generally get behind them. For Giles Smith, primarily a house DJ, though, they remain an important aspect of any set. “Ideally a vocal has strong lyrical content and actually sounds great – that’s the perfect situation. But if it just sounds good and the lyrics are a bit meaningless it wouldn’t stop me from playing it. Indeed, sometimes the voice just becomes another instrument, sound or texture. There was a very golden time for vocals in the mid 90s with MAW, Blaze and singers like Arnold Jarvis, Cassio Ware, Robert Owens, Jocelyn Brown and Martha Wash, but now I really do find it much harder to find good vocal house tracks in that vein.”

Robert Owens, of course, is still one of the most prominent vocalists of the day, but it must be said that his longevity is beginning to show in a lack of originality. So where do modern writers find inspiration? For James Teej, “my travels and life’s experience. Stories and memories of love, loss, and all of life’s light and dark moments are what I gravitate to when getting inspired lyrically,” whilst Roy Davis Jr finds himself “going back in time to listen to Stevie Wonder’s ‘As’ or Bob Marley’s ‘Could You Be Loved’ to bring me back to a great feeling, but I also look to what I fight and stand for – love, umoja and peace, with a dash of wisdom for all mankind.

Knowing what you stand for, then, is key to imbuing your music with any sense of message, and Amir Alexander agrees. “Everything I produce is a natural extension and expression of my core essence. I make music that, first and foremost, moves me. As long as I am true to that it will touch others because I possess knowledge of self. To truly know oneself is to truly know the whole of humanity. To paraphrase a famous song, ‘I’m every man. It’s all in me.’”

 

To accompany this feature, we asked Giles Smith to pick his favourite 21st-century vocal tracks. You can check out his selection here.

Author Kristan Caryl
20th June, 2014

Comments

  • Jack let too many people into the house and is surprised that there was a fight and the coffee table got smashed.

    Deep house tried to do it in the late 90s early aughts with a new vocal trend but nude dimensions still pigeon-holed it into disco love songs and little else.

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  • Timely article….I have been writing tracks recently…the technology has finally gotten to a point where I feel like I can express myself, and still sound musical, but I have not yet been able to just magically reproduce that incredible sound and *FEELING* I was brought up on in the mid 90’s with deep house. This article is great food for thought, and I am definitely going to try to inject a message into my tracks…if I can make it work. The message I heard back in the day changed my life, so much for the better….maybe now that I am close to ready, I’ll be lucky enough to change one’s life with something in a track. If it’s just one person, that’s enough….but if we can get that MESSAGE to more, all the better. Thanks for bringing it up!

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  • i love deep house but those afroamericans yelling on the mic… huuuu!!!

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  • “Of course, times have changed. The musical and political landscape in 2014 is very different to that from which house music emerged in the early 1980s. Back then house music brought together people of all races, genders and sexualities under one roof.”

    So true, nowadays you even have dance music journalists claiming that feminism is “lesbian propaganda” http://quietus_production.s3.amazonaws.com/images/articles/7384/caryl_tweet_1321271292_crop_550x90.jpg

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  • You could equally argue that music with lyrics is exclusionary – of people who don’t agree with the sentiment expressed in teh lyric, with the cultural signifiers it depends on, or with the laguage employed. When I got into underground music like goa & psychedelic trance (and later a wider variety of techno music) back in the mid-90s one of the very appealing factors besides the sheer enjoyment of the music was that it was accessible to anyone who liked the sound regardless of language ability. It was very common to meet people at parties in the US who had limited or no fluency in English, but with whom one could still share deep non-verbal communication through the medium of dance.

    That scene had great ethnic, cultural, and age diversity despite a bare minimum of linguistic/lyrical content. Lyrical music can be awesome but at a social level it is fundamentally introverted. For example, a Chinese song might be enormously powerful and evocative in lyrical terms, but if you’re not conversant in that language then it’s impossible to distinguish it from a lyric that’s bland and superficial. Being in an ethnically mixed marriage but not good at my in-laws’ language, I have no idea what makes them sing along with one tune while being indifferent to the next.

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  • Interesting subject. I love music with a meaning and I love GOOD vocal house but honestly what’s the ratio of good to bad? i’d rather not have any than listen to another fucking awful pseudo-soulful house track using clubbing as a metaphor for love as a metaphor for drugs as a metaphor for a girl as a metaphor for….. ARGH!!!!

    On the other hand, there are very few artists who manage to promote any kind of meaning to their output – and I deliberately say output rather than music – while making instrumental music. An obvious example might be Theo Parrish, who uses his position to talk about things which matter while making (largely) instrumental music. The new generation of pop-dance artists like Disclosure, Skream, Route 94, Breach et al have a unique platform from which they could talk about things which matter to them. But what do we hear? FUCK ALL. Surely one of that lot has something to say?

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  • As Amir says correctly ‘I’m every man. It’s all in me.’” .

    And,

    “As long as I am true to that it will touch others because I possess knowledge of self ”

    this is how real music works!!

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  • I am not so much for vocals.. I come directly from jazz being the dominant music played in my house growing up.. The vocal music that was played was from the greats and legends. Today there are not too many greats or legendary singers coming along. If they can sing it’s on lackluster material and if it is good material the singers are not great singers. As for the comment from the “north” guy. Afroamericans…Not only did afro-americans invent every style of modern music as a whole (except salsa, merengue,reggae,drum n bass and dub step)(which were still created by people of a african background) going back to the 1800’s!!! As the whole world already knows!!! That fact doesn’t mean any of the music created is only for the people that created it “north” Or that it is all good either.. But since the race and nationality comment was mentioned I thought it fitting to remind you where it all comes from regardless of your personal tastes or dislikes.

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  • If you want to make artsy fartsy vocal tunes, it’s your right. You have something to say that’s inspiring, that’s wonderful. If your message is universal, and not so much about ‘yourself’, it will touch many who can relate. If God gave you the gift to make music and you’re satisfied with touching only one person, then your effort and honor is questionable.

    Also worth mentioning, If you’re making instrumental House, you’re not limited by the language barrier. Due to the internet, there is a wider audience than ever before, your tunes can be felt and understood on a worldwide level. Dance music at it’s very essence is rhythmic oriented. So all you really need is a strong beat and groove to make bodies move.

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  • Though I admire the sentiment of this article I think presupposing that explicit lyrical content is required to catalyse a non-abstract sense of moral uprightness in a listener of a dance track is a dangerous supposition.

    Words suck at communicating, as you can see from what I just wrote.

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  • tá calado.

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  • I think there’s plenty of soulful good house music out there that truly adheres to the original meaning that was created in the 80s. I go on Traxsource and find plenty, which is why I tell deep house fans to get off Beatport and shop elsewhere.

    The issue really though is we’re facing a world where average people want quick instant gratification. For years I’ve tried to play deep house in venues to build a nice atmosphere, but time and time again even in the most elegant of lounges (with no dancefloors), the crowd wanted bangers that you mainly hear in fests and big clubs.

    If I had to say anything, it’s that we need to highlight the diversity of music in our mixes, our radio and online shows, blogs, and even in the opening sets at bigger events (or smaller stages/venues). I can’t expect the “EDM” fan to really have the patience for soulful music…so you build balance and see who wants to go down the rabbit’s hole.

    One last note. At the recent memorial for the late Frankie Knuckles, I saw loads of people there that one wouldn’t expect. Many “EDM” folks who wanted to know about Knuckles. After the event I had emails and social media messages asking me where they could hear more of that soulful Chicago deep house.

    There is hope.

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  • Joe Smooth Promised Land IMO is one of the very few good vocal house tunes.
    Instrumental house music has always been outstanding and still is, and it does have a meaning if made well – it is funky ! If you can’t feel the funk, then listen to something else. IMO there is very little funk in vocal soulful house, but that’s just my opinion. I love instrumental house and that’s that!! Always have and always will ! 🙂

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  • I think the modern house production methods also have a major role in this. As a producer you can pretty much replace every instrument ever created with a soft synth or through sampling,,,but its a bit difficult to “play” a vocalist.
    Many producers I know are not very skilled singers but know quite a bit about what sounds funky and what works on a dancefloor. Or know how to get a phatt bass or rocking drum loop. They can do this all themselves but can’t justify getting in a vocalist who wants to be…….paid and also be a major part of the production process. I know it sucks. Also just because you get a vocalist in the studio and you pen the greatest story man could ever hear doesn’t mean you will make “someday” or “promiseland”

    Keep in mind joe smooth promiseland wasn’t the rule at the time it was the exception. It stood out and has also stood the test of time.
    The beauty of a great vocal house song (or any song really) is getting everything right promiseland has some amazing drum programming, a crazy catchy bass line with an epically awesome synth/orchestral line,,,oh and then just sprinkle a completely amazeballs vocal over the top. Which whilst it does have amazing lyrics when I first heard it I didn’t comprehend the meaning but just had my hands up reaching for the lasers looking for my sisters and brothers.

    I do think that modern music is lacking great vocalists (and telling stories) but I also think its missing amazing musicians. In this 90s throwback era as much as we are missing an India we are also missing a Gene perez.
    By the way a song like “backfired” has spoken to me much more deeply than “someday” has and I’ve never been cheated on. That says a lot about maw and India obviously but also it speaks to what great songwriting and performance can do. Even a generic message about plain old cliched “love” can touch you more than spitting about political truths 😉

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  • I think the article brings up and important aspect of meaning and message in music. It doesn’t need to have vocals to have a message or meaning. I think there’s a lack of concepts in music at the moment. Take the likes of Jeff Mills or Underground Resistance, largely if not all instrumental music, but with great concepts, with stories, messages that lift it beyond something that’s just good to dance to. Good art conveys something. What is it you want to convey?

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  • Hey Noob.
    I’ve just realised that, even though I liked your comments a lot,
    art can just be good and have no meaning perhaps.
    maybe only to the person who made it?
    whatever – it’s just music after all and music is just there to evolve the brain and make people happy – nice 🙂

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  • I thought disco was dead?

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  • @jez j. If you think ‘Promised Land’ is one of the few good vocal house tracks you’ve heard very little vocal house. Bring Down the Walls, It’s Alright, Someday, Good Life, Sun Can’t Compare, Mind Games, Move Your Body, No Way Back, Distant Planet, countless Strictly Rhythm releases and so on and so on. Hungry for the Power and Reckless with your love by Azari and iii are two of the best vocal house tracks ever and came out in 2009.

    I don’t think anyone would dispute instrumental music can be equally as emotive but it’s harder for it to be so. Also most great vocal house doesn’t contain a “message” as such it’s based on fairly traditional relationship themes.

    I think this issue is house has been co opted for the most part by middle class white Europeans as an accompaniment to drug experiences. 99% of these producers have nothing to say.

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