Why deny worthy winners? The Arctic Monkeys are clearly the act of the year and are the rightful winners of the paltry 20K prize.
However in terms of the performances it is hard to beat Thom Yorke's spellbinding spot at the piano. Editors also managed the best TV performance I've seen from them although that's not saying much and they looked like they had turned up dressed for football in the park rather than to perform at a major awards ceremony, make an effort damn it! The Guillemots did an interesting turn as did Hot Chip (although I'm not sure I understand the appeal of the latter). Sway seemed a lot more interesting than I had initially thought (I'm a bit wary of Grime in general).
Other than that nothing really stayed with me from the TV show. That said though it was a superb selection of artists and albums on the very diverse shortlist. We seem to be at a very fortunate time for music where there is no dominant paradigm and all manner of great stuff has a chance to bloom and connect with people. For all the moaning about duffers like James Blunt et al they can hardly be said to have popular music in the vice-like grip that BritPop or Stock, Aitken and Waterman did.
Thursday, September 07, 2006
Saturday, August 26, 2006
No Bra - Munchausen
Apparently I've made the hideous mistake of not blogging about the absolutely phenomenal slice of satire that is the fantastic Munchausen. Hi, my name is Munchausen how are you?
There is no point in describing this song too much as it is work of complete genius and completely skewers every pretentious wanker you've ever met. Don't take my word for it click on the link and learn about the Anal Staircase and the hitherto uncommented on relationship between Germans and Ethiopians.
It's endlessly quotable and if you're not sobbing with laughter by the end go to KwikFit and see if they can't sort you out with a soul.
I actually went to see NoBra do an instore performance at Rough Trade. To be honest most of the people there were probably like me, enormously impressed by Munchausen and wanting to see if there was more in that vein. The performance seemed very awkward to me. Susanne seems excrutiating shy and has a near zero presence not to mention a weak voice. Performing topless was a bit of a surprise but just added to the general sense of awkwardness.
To be frank at the moment what NoBra is a one song novelty act with the remainder of the show consisting of a lot of rambling poetry being delivered like a brick to the head over the top of wandering electronic bleeping. It's not the worst thing I've seen (because I've seen Fennesz and Icarus live so you've got to be bloody bad to take that title) but it's nothing worth seeing at the moment.
Still that doesn't matter. Listen to Munchausen again, right now before Top Shop gives you syphilis again.
There is no point in describing this song too much as it is work of complete genius and completely skewers every pretentious wanker you've ever met. Don't take my word for it click on the link and learn about the Anal Staircase and the hitherto uncommented on relationship between Germans and Ethiopians.
It's endlessly quotable and if you're not sobbing with laughter by the end go to KwikFit and see if they can't sort you out with a soul.
I actually went to see NoBra do an instore performance at Rough Trade. To be honest most of the people there were probably like me, enormously impressed by Munchausen and wanting to see if there was more in that vein. The performance seemed very awkward to me. Susanne seems excrutiating shy and has a near zero presence not to mention a weak voice. Performing topless was a bit of a surprise but just added to the general sense of awkwardness.
To be frank at the moment what NoBra is a one song novelty act with the remainder of the show consisting of a lot of rambling poetry being delivered like a brick to the head over the top of wandering electronic bleeping. It's not the worst thing I've seen (because I've seen Fennesz and Icarus live so you've got to be bloody bad to take that title) but it's nothing worth seeing at the moment.
Still that doesn't matter. Listen to Munchausen again, right now before Top Shop gives you syphilis again.
Schengen - The Beijing of Our Career
Schengen are a little Bristol two piece and they have produced some good stuff and some not quite as good stuff (you can hear the best on their MySpace page). Now though (provided you can forgive the punning title) they have released an unreservedly excellent album through their cooperative label MakeMineMusic.
Some tracks such as City and Macdafun have been released before but this recording of the tracks are far superior (perhaps the quality of the engineering and mastering, perhaps experience, possibly both). If you have the Flow sampler give City a listen and then listen to the Beijing version to see the difference.
As for the new tracks it is all of a similar quality and has the warm analogue sounds that characterise the best Schengen stuff so far. The percussion is generally the weak spot in most Schengen tracks and while you're not going to be blown away by it this time either it is well-mixed and supports the strong melody lines that flow through the tracks rather than distracting from them.
The CD has fifteen tracks and there's no better introduction to the sound of Schengen. It is also at a phenomenally good price of £5 so if you fancy a prime slice of mellow electronica get over to MakeMineMusic and buy it right now.
Some tracks such as City and Macdafun have been released before but this recording of the tracks are far superior (perhaps the quality of the engineering and mastering, perhaps experience, possibly both). If you have the Flow sampler give City a listen and then listen to the Beijing version to see the difference.
As for the new tracks it is all of a similar quality and has the warm analogue sounds that characterise the best Schengen stuff so far. The percussion is generally the weak spot in most Schengen tracks and while you're not going to be blown away by it this time either it is well-mixed and supports the strong melody lines that flow through the tracks rather than distracting from them.
The CD has fifteen tracks and there's no better introduction to the sound of Schengen. It is also at a phenomenally good price of £5 so if you fancy a prime slice of mellow electronica get over to MakeMineMusic and buy it right now.
The Pipettes and related
Okay so I've picked up on the buzz about The Pipettes but I needed to have a good listen to their tracks and particularly watch the stage show on YouTube (check out Your Kisses are Wasted on Me) before I was convinced that they are most definitely a Good Thing.
I don't know what the deal is with retro girl groups at the moment but there are also the Puppini Sisters who are frankly just too arch for me. Musically The Pipettes aren't so much influenced by the past but have borrowed the Tardis and have stolen a whopping chunk of it. In this they have a lot in common with label mates Go! Team although the genre being plundered is different.
Researching the Pipettes lead to all kinds of mad stuff. Ex-member Julia is now in the Indelicates. I saw their eye-brow raising single cover in Rough Trade but it was so exploitative that I thought it was transgression wank. However their Myspace page yields some good stuff. Try the track Sixteen which is spot on.
In addition Gwenno Pippette had a former career as Welsh popstress and her own material is also quite good (she has a tremendous voice). Again MySpace is the place to be. Afterglow is phenomenally good.
I don't know what the deal is with retro girl groups at the moment but there are also the Puppini Sisters who are frankly just too arch for me. Musically The Pipettes aren't so much influenced by the past but have borrowed the Tardis and have stolen a whopping chunk of it. In this they have a lot in common with label mates Go! Team although the genre being plundered is different.
Researching the Pipettes lead to all kinds of mad stuff. Ex-member Julia is now in the Indelicates. I saw their eye-brow raising single cover in Rough Trade but it was so exploitative that I thought it was transgression wank. However their Myspace page yields some good stuff. Try the track Sixteen which is spot on.
In addition Gwenno Pippette had a former career as Welsh popstress and her own material is also quite good (she has a tremendous voice). Again MySpace is the place to be. Afterglow is phenomenally good.
Sunday, August 06, 2006
MySpace for the Signed
Until now I've thought of MySpace being more for unsigned or indie groups but increasingly established bands are joining as well.
Here's a few highlights:
Here's a few highlights:
- Ladytron
- Luke Haines (The Auteurs, check out the Lenny Valentino track that is currently available)
- The Divine Comedy (including the new single)
- Piano Magic (check out the new single Incurable)
- The Manics (although the tracks are cut which is a bit cheap)
- And finally new discoveries Dresden Dolls
Free Ladytron download
Go to the Sideload site right now. Download the Ladytron track that is currently on the front page. It's off the Witching Hour album and, unbelievably for a freebie taster track, it is one of the best on the whole thing.
Saturday, August 05, 2006
Port-Royal - Flares
A swift turnaround sees Port-Royal's Flares arrive the day after I PayPal it. Record label service can't be faulted but what of the record?
Well I was expecting a minimalist, Arctic techno sound but while there is some of that sound we are more in the Piano Magic/Godspeed/Explosions in the Sky territory and that's no bad thing.
My immediate reaction is that I like it and, goddamn it, Amazon is just too smart in its recommendations. I like label mate Strafrænn Hákon and it correctly put two and two together to make the connection. Just to spite the machine I bought it direct.
Well I was expecting a minimalist, Arctic techno sound but while there is some of that sound we are more in the Piano Magic/Godspeed/Explosions in the Sky territory and that's no bad thing.
My immediate reaction is that I like it and, goddamn it, Amazon is just too smart in its recommendations. I like label mate Strafrænn Hákon and it correctly put two and two together to make the connection. Just to spite the machine I bought it direct.
Monday, June 26, 2006
Burial - South London Boroughs/Burial
Urban music; in general something that I am happy to leave to the kids. Grime really left me cold so thank god that there is now something out of the London underground scene that I can take real pleasure in.
No less an authority than the Observer Music Magazine described Burial's music as being in the brand new genre 'Dubstep' and I have to say that having read it it is hard to disagree. There is the spacey echo-y Dub elements, the great big soundsystem bass and throughout all of the best tracks an urgent and insistent beat that never outstays its welcome and instead disappears too soon. My only concern is that this genre may consist of exactly one band albeit one that does a fantastic job of merging its component elements. If there's more I'm desperate to hear it but for now this is enough.
Burial is awesome, there is nothing else to say. Go to Bleep now, listen to South London Boroughs. It's dance music... but you can listen to it. It's dub but it's not stoned. It's club music but it is not boring. It sounds retro but it could only be happening right now. It's just amazing!
No less an authority than the Observer Music Magazine described Burial's music as being in the brand new genre 'Dubstep' and I have to say that having read it it is hard to disagree. There is the spacey echo-y Dub elements, the great big soundsystem bass and throughout all of the best tracks an urgent and insistent beat that never outstays its welcome and instead disappears too soon. My only concern is that this genre may consist of exactly one band albeit one that does a fantastic job of merging its component elements. If there's more I'm desperate to hear it but for now this is enough.
Burial is awesome, there is nothing else to say. Go to Bleep now, listen to South London Boroughs. It's dance music... but you can listen to it. It's dub but it's not stoned. It's club music but it is not boring. It sounds retro but it could only be happening right now. It's just amazing!
Sunday, May 21, 2006
MP3 Locker
I ended up having an MP3 Locker because I had bought some music at MP3 Tunes. At first I didn't understand the value of the service and just found it annoying (the script in the plugin cannot deal with big pages full of MP3 links for example).
But recently I've been reconsidering. I have been visiting some of the various John Peel style blogs that are either dedicated to the program and the music of the time or honouring the eclectic style of exploring new music. Most of these blogs have links to recordings of old radio shows, obscure 7" or band sessions. I don't want to download such eclectic material onto my PC, it would be a pain to handle and if its a duffer I don't want to lose it amongst all the other files I have.
MP3 Locker means I can download the file without having to store it on my machine. It also allows me to store a link that may be ephemeral. The locker also has a nice web based MP3 player and allows you to have a quick a blast of something while wandering the web.
It's probably not 100% there yet but it has been becoming increasing useful, to the point where I actually noticed that the SL icon was missing on my MacBook. For music grazers I would definitely recommend, it's the junk store of online music.
But recently I've been reconsidering. I have been visiting some of the various John Peel style blogs that are either dedicated to the program and the music of the time or honouring the eclectic style of exploring new music. Most of these blogs have links to recordings of old radio shows, obscure 7" or band sessions. I don't want to download such eclectic material onto my PC, it would be a pain to handle and if its a duffer I don't want to lose it amongst all the other files I have.
MP3 Locker means I can download the file without having to store it on my machine. It also allows me to store a link that may be ephemeral. The locker also has a nice web based MP3 player and allows you to have a quick a blast of something while wandering the web.
It's probably not 100% there yet but it has been becoming increasing useful, to the point where I actually noticed that the SL icon was missing on my MacBook. For music grazers I would definitely recommend, it's the junk store of online music.
D'oh! Or Bleep and Track Numbers
My music player, along with the iPod (I believe) ignores the track numbers in the tagging information on my music files and instead organises directories alphabetically by the filenames. It used to really bug me that once I downloaded something from Bleep I had to spend ten minutes manually rejigging the filenames to add the track number at the start. However it seems that I was just being a bit of an idiot and that if you login and go to your preferences you can select the filename format you want from three options.
Full marks to the Bleep crew for having the option, null pois for advertising it.
Full marks to the Bleep crew for having the option, null pois for advertising it.
Sunday, May 14, 2006
Primal Scream - Live at the Dundee Radio 1 Weekend
I took the opportunity tonight to use the power of digital TV and the red button to watch Primal Scream perform at the Radio One Dundee event. I've seen Primal Scream live before and didn't really enjoy the experience. That's because for me they are very inconsistent in their output: there's the Rolling Stones Primal Scream, the Stoner Primal Scream and the screaming industrial Primal Scream. That's fantastic in terms of longevity of the band and variety in the albums but live it just results in a confusing experience. As soon as you've got into one style or, rather, as soon as you are enjoying one of the Primal Screams they seem to change to another.
What makes the experience worse is that the band do not seem to have found a way to mesh these styles together into a whole themselves but instead have to lurch from one to another.
It is easy to understand why people like the Scream but personally I think watching them on telly is a far better experience.
What makes the experience worse is that the band do not seem to have found a way to mesh these styles together into a whole themselves but instead have to lurch from one to another.
It is easy to understand why people like the Scream but personally I think watching them on telly is a far better experience.
Saturday, May 13, 2006
Classical Appropriation
I went to see the last Sacred Selection last night (Black Metal). The church was local and the whole performance was less than two hours so it was an enjoyable and easy-going evening.
Out of the music chosen for the night I only really knew Cradle of Filth. So I was coming at it from a very neutral point of view. I was not exactly sure how the important rhythm section was going to be handled and, in fact for the most part, it wasn't due to the selection of the pieces. Something like Cradle of Filth is already orchestrally arranged anyway. A lot of Black Metal albums and tracks also start with keyboard intros based on Requiem style church music anyway so I guess what was more revealing was not the adaption but actually the way it revealed the influence church music has had on the subject matter.
Listening to the recital also made me think about how limited the range of organ music I have heard is. Like many people I most often find myself in a church due to a wedding. At such occasions the music is of necessity mostly in a major key and relatively unobtrusive. It was therefore nice to hear the instrument really displaying a wider range of tone, style and key.
It was also nice to see that the audience was not just die-hard metallers nor the typical ICA art show attendee. Both were present but the audience was broader. It was also a relief to see that the audience for the most part respected the church and its environment as well as the genre. There were a few idiots but there always are at anything that is open to the public.
The show also got me thinking about the way that classical music seems to be plundering popular music genres for ideas at the moment. Over the last year I have bought a couple of classical reinterpretations of dance music and electronica. Generally such crossover traffic is in the opposite direction with electronica borrowing liberally from classical music to provide samples as well as ideas.
Out of the music chosen for the night I only really knew Cradle of Filth. So I was coming at it from a very neutral point of view. I was not exactly sure how the important rhythm section was going to be handled and, in fact for the most part, it wasn't due to the selection of the pieces. Something like Cradle of Filth is already orchestrally arranged anyway. A lot of Black Metal albums and tracks also start with keyboard intros based on Requiem style church music anyway so I guess what was more revealing was not the adaption but actually the way it revealed the influence church music has had on the subject matter.
Listening to the recital also made me think about how limited the range of organ music I have heard is. Like many people I most often find myself in a church due to a wedding. At such occasions the music is of necessity mostly in a major key and relatively unobtrusive. It was therefore nice to hear the instrument really displaying a wider range of tone, style and key.
It was also nice to see that the audience was not just die-hard metallers nor the typical ICA art show attendee. Both were present but the audience was broader. It was also a relief to see that the audience for the most part respected the church and its environment as well as the genre. There were a few idiots but there always are at anything that is open to the public.
The show also got me thinking about the way that classical music seems to be plundering popular music genres for ideas at the moment. Over the last year I have bought a couple of classical reinterpretations of dance music and electronica. Generally such crossover traffic is in the opposite direction with electronica borrowing liberally from classical music to provide samples as well as ideas.
Sunday, April 09, 2006
Ambient Radio
StumbleUpon has just exposed me to a brilliant German Ambient site called Spheric Lounge.
The music is pretty cool and the interface (while a bit pseudy) and stream quality are good.
The music is pretty cool and the interface (while a bit pseudy) and stream quality are good.
Saturday, February 04, 2006
Arctic Monkeys - Bigger than the Beatles
So I've downloaded their new album from Bleep (Bleep has this new player technology that I'm giving a whirl in this post) and finally I hear what all the hype is about. At first I have to say that I'm not absolutely knocked out, although I admire the musicianship and poetry of the lyrics. Then today in HMV I'm listening to the Foo Fighters being pumped out on the store radio and I think: "My god they really are all that!". The Arctic Monkeys make music that isn't tired and isn't straight-forwardly derived from some other great band from twenty years ago.
That said the band seem to have the same problem I saw with Franz Ferdinand; since most of the songs are about chav-life through the prisim of a night on the town up north they are not going to have a lot to write about for their next album. But maybe that's not the point, maybe the point is that they've created an album of the moment and the place and it is a great album.
That said the band seem to have the same problem I saw with Franz Ferdinand; since most of the songs are about chav-life through the prisim of a night on the town up north they are not going to have a lot to write about for their next album. But maybe that's not the point, maybe the point is that they've created an album of the moment and the place and it is a great album.
Tuesday, January 24, 2006
New albums ahoy
There are two new albums I'm looking forward to this month. Schengen's new album, they're stuff on the Flow compilation was the best yet so it is going to be interesting to see what they have been up to. The other is a new Biosphere album, always welcome with me.
Bleep also have the Artic Monkeys (gotta give into the hype), the new album from Clearlake (they have had their moments in the past but what is this release like?) and an oldie from Mogwai, Rock Action which I don't have.
Roll on pay day (and release dates)...
Bleep also have the Artic Monkeys (gotta give into the hype), the new album from Clearlake (they have had their moments in the past but what is this release like?) and an oldie from Mogwai, Rock Action which I don't have.
Roll on pay day (and release dates)...
Saturday, January 21, 2006
Top Tens
Since we are only into the New Year properly now I thought I would have a look at some lists of 2005 records. There's an element of music navel-gazing here but on the other hand I felt 2005 was quite a good year for music.
First let's have the Observer Music Monthly Top Ten
Excellent, like all good muso lists there is plenty of obscure stuff but what surprised me was that there was a lot of stuff I had heard of but actually didn't like all that much.
Okay, now for the reader's list from the same magazine.
This seems to me to be a more accurate list based on buzz, the charts and what people were actually talking about. Personally though I think there is something hideously wrong with people who rate either the Kaiser Chiefs or Bloc Party above the Editors. The only real WTF is the presence of Coldplay and Madonna. Coldplay had a good video, a good single and an album that was the aural equivalent of vanilla blancmange, it gave coffe-table music a reputation for being edgy.
Again there is some taste differences. The White Stripes are a good band and their album was probably equally good but I didn't like it, the Magic Numbers seem too retro to actually be interesting.
Right, finally we have my own list, which is actually a bit more than ten because I forget a few that were actually made this year so they had to be slotted in later.
So, comments on my list. Well the ranking is based on how much I liked the album as a piece of music but really the sign of true value for me is how long I listen to an album after the initial appeal has worn off. With Teeth for example was really a bit of a placeholder record but you have to credit it with a number of grooves that kept me coming back.
The disappointments were FourTet and Goldfrapp, neither seemed too certain where they were going after a good previous album. In FourTet's case his mix compilation was actually better than his own release, not that has to hurt. The new BoC album was a bit uneven as well and while I liked the new Autechre it hasn't exactly been on continual play since its release.
The top four really deserve their rankings and I was disappointed to see no intersection at all on these (although Death Cab and Editors made the Top 100 in the Observer). See-Mi-Yah might pip Remberanza in terms of number of listens since release but Murcof managed a great job of moving his sound on while retaining its essential qualities (in case you haven't heard it: Electronica in a fusion with Contemporary Classical). The same was true of Death Cab for Cutie, the melodies, lyrical keystones and style from previous albums were all present but the product as a whole was buffed and styled to perfection. The opening two tracks are an example of pure pop songs that don't insult the listener.
Editors were a revelation for me this year, seeming to pick up the musical threads where Joy Division left off (only with a lighter tone to the lyrics). Their only deficiencies are a lacklustre drummer in the studio and vocalist live. Other than this they have a powerful indie rock sound that is incredibly slick for a debut.
They've had a lot of stick for their obvious roots in The Cure, Joy Division and lesserly The Smiths but I don't buy it. Sure they have their roots in these bands but they do not sound like any one of them, they are their own thing. As for being some kind of retro indie nostalgia piece... well to me the Kaiser Chiefs and Bloc Party sound like the poor man's Jam tarted up for the disco. For me the Editors didn't just create a pastiche they reinvented.
First let's have the Observer Music Monthly Top Ten
- I am Bird Now - Antony and the Johnsons
- Demon Days - Gorillaz
- Illnoise - Sufjan Stevens
- Chavez Ravine - Ry Cooder
- Get Behind Me Satan - The White Stripes
- You could have it so much better - Franz Ferdinand
- Late Registration - Kanye West
- Want Two - Rufus Wainwright
- Le Fil - Camille
- Funeral - Arcade Fire
Excellent, like all good muso lists there is plenty of obscure stuff but what surprised me was that there was a lot of stuff I had heard of but actually didn't like all that much.
Okay, now for the reader's list from the same magazine.
- Arcade Fire
- Franz Ferdinand
- Gorillaz
- Antony & The Johnsons
- Kaiser Chiefs
- Bloc Party
- Magic Numbers
- White Stripes
- Coldplay
- Madonna
This seems to me to be a more accurate list based on buzz, the charts and what people were actually talking about. Personally though I think there is something hideously wrong with people who rate either the Kaiser Chiefs or Bloc Party above the Editors. The only real WTF is the presence of Coldplay and Madonna. Coldplay had a good video, a good single and an album that was the aural equivalent of vanilla blancmange, it gave coffe-table music a reputation for being edgy.
Again there is some taste differences. The White Stripes are a good band and their album was probably equally good but I didn't like it, the Magic Numbers seem too retro to actually be interesting.
Right, finally we have my own list, which is actually a bit more than ten because I forget a few that were actually made this year so they had to be slotted in later.
- Murcof - Remberanza
- Rhythm & Sound - See-Mi-Yah
- Editors - The Back Room
- Death Cab for Cutie - Plans
- Mogwai - Government Commissions
- Gravenhurst - The Velvet Cell
- Maximo Park - A Certain Trigger
- Nine Inch Nails - With Teeth
- Boards of Canada - The Campfire Headphase
- The Go! Team - Thunder Lightning Strike
- Autechre - Untilted
- Antony & The Johnsons - I am a Bird Now
- Ladytron - Witching Hour
- Isolee - We are Monster
- FourTet - Everything Ecstatic
- Goldfrapp - Supernature
So, comments on my list. Well the ranking is based on how much I liked the album as a piece of music but really the sign of true value for me is how long I listen to an album after the initial appeal has worn off. With Teeth for example was really a bit of a placeholder record but you have to credit it with a number of grooves that kept me coming back.
The disappointments were FourTet and Goldfrapp, neither seemed too certain where they were going after a good previous album. In FourTet's case his mix compilation was actually better than his own release, not that has to hurt. The new BoC album was a bit uneven as well and while I liked the new Autechre it hasn't exactly been on continual play since its release.
The top four really deserve their rankings and I was disappointed to see no intersection at all on these (although Death Cab and Editors made the Top 100 in the Observer). See-Mi-Yah might pip Remberanza in terms of number of listens since release but Murcof managed a great job of moving his sound on while retaining its essential qualities (in case you haven't heard it: Electronica in a fusion with Contemporary Classical). The same was true of Death Cab for Cutie, the melodies, lyrical keystones and style from previous albums were all present but the product as a whole was buffed and styled to perfection. The opening two tracks are an example of pure pop songs that don't insult the listener.
Editors were a revelation for me this year, seeming to pick up the musical threads where Joy Division left off (only with a lighter tone to the lyrics). Their only deficiencies are a lacklustre drummer in the studio and vocalist live. Other than this they have a powerful indie rock sound that is incredibly slick for a debut.
They've had a lot of stick for their obvious roots in The Cure, Joy Division and lesserly The Smiths but I don't buy it. Sure they have their roots in these bands but they do not sound like any one of them, they are their own thing. As for being some kind of retro indie nostalgia piece... well to me the Kaiser Chiefs and Bloc Party sound like the poor man's Jam tarted up for the disco. For me the Editors didn't just create a pastiche they reinvented.
Thursday, December 15, 2005
Gravenhurst Live at the Islington Academy
First time at the Islington Academy and it is actually a really nice venue, the sort of small, informal place that I really like to see bands in.
It is a three-slot bill put on by Tiscali who are meant to be putting a video of the show online but it doesn't seem to be there right now. In fact currently there is a video of my evil celebrity stalker Patrick Duff(y). Whatever you do don't encourage him: don't listen to his music or watch his videos. I think he will do me harm in the end.
Anyway Gravenhurst did a fantastic show that had the emphasis on their new "power trio" material (the rockier stuff from the Velvet Cell). The performance was great and I really enjoyed it. However during the quieter folky numbers all you could hear was people yakking, completely oblivious to the show. I thought it was rude but then I also realise that for a lot of Londoners gigs are essentially places where you go with your friends to score drugs. These people probably consider any band who might try to perform a distraction from the main business of the day.
That side of things was depressing and it reminded of the huge difference between seeing Underworld in Newport and the Brixton Academy. Newport Leisure Centre actually had a great atmosphere because people really wanted to be there, really wanted to the see the band and really wanted to have a good night. At Brixton I think you could have shoved a naked monkey on stage as long as he was dealing speed and Ecstasy.
So after the set I went up to the stage where Nick Talbot (the main man in the band) was packing up his gear and told him what a good show the band had done. First time I have had both the desire and opportunity to do so. I am glad I did because it was a great show but Nick seemed disappointed by the relatively hostile reception he had received.
Gravenhurst were followed by Morning Runner. Morning Runner are probably going to be huge. For a start they have at least one roadie for every member and they are already entitled to have fresh towels brought on stage before they play.
They also have an extremely handsome singer who has a touch of feminine vulnerability (and for all I know a 10" cock), a powerful rock sound and songs with choruses and everything. And teenage girls love them or rather they love their frontman and that's good enough for rock and roll.
We left mid-set and I really felt a Coldplay moment. I saw Coldplay at Bristol's Louisana not long before their management cut Chris's whitefro and they released Yellow. Coldplay were not very good but if I had been more aware I would have realised that they were going to be big. It's the same with Morning Runner, they have all the trappings of a band making it big but they are boring and formulaic.
Thank heavens for Gravenhurst then.
It is a three-slot bill put on by Tiscali who are meant to be putting a video of the show online but it doesn't seem to be there right now. In fact currently there is a video of my evil celebrity stalker Patrick Duff(y). Whatever you do don't encourage him: don't listen to his music or watch his videos. I think he will do me harm in the end.
Anyway Gravenhurst did a fantastic show that had the emphasis on their new "power trio" material (the rockier stuff from the Velvet Cell). The performance was great and I really enjoyed it. However during the quieter folky numbers all you could hear was people yakking, completely oblivious to the show. I thought it was rude but then I also realise that for a lot of Londoners gigs are essentially places where you go with your friends to score drugs. These people probably consider any band who might try to perform a distraction from the main business of the day.
That side of things was depressing and it reminded of the huge difference between seeing Underworld in Newport and the Brixton Academy. Newport Leisure Centre actually had a great atmosphere because people really wanted to be there, really wanted to the see the band and really wanted to have a good night. At Brixton I think you could have shoved a naked monkey on stage as long as he was dealing speed and Ecstasy.
So after the set I went up to the stage where Nick Talbot (the main man in the band) was packing up his gear and told him what a good show the band had done. First time I have had both the desire and opportunity to do so. I am glad I did because it was a great show but Nick seemed disappointed by the relatively hostile reception he had received.
Gravenhurst were followed by Morning Runner. Morning Runner are probably going to be huge. For a start they have at least one roadie for every member and they are already entitled to have fresh towels brought on stage before they play.
They also have an extremely handsome singer who has a touch of feminine vulnerability (and for all I know a 10" cock), a powerful rock sound and songs with choruses and everything. And teenage girls love them or rather they love their frontman and that's good enough for rock and roll.
We left mid-set and I really felt a Coldplay moment. I saw Coldplay at Bristol's Louisana not long before their management cut Chris's whitefro and they released Yellow. Coldplay were not very good but if I had been more aware I would have realised that they were going to be big. It's the same with Morning Runner, they have all the trappings of a band making it big but they are boring and formulaic.
Thank heavens for Gravenhurst then.
Wednesday, October 12, 2005
Diatonis
In an interesting example of targeted marketing CD Baby sent me an email saying that American ambient artist Diatonis has a new album out. So I duly forked the cash and got myself a copy. Proof that people who bought X really do buy Y. Pretty easy with the same artist though.
I am currently really enjoying Diatonis's Convolving Universe and Highway 1, the new album, doesn't feel in the same league. On the other hand it covers a very different vibe. I need to listen a bit more before passing judgement.
Oh except to say that Ambient Life and Convolving Universe are excellent and you should buy them right now from MP3 Tunes right now!
I am currently really enjoying Diatonis's Convolving Universe and Highway 1, the new album, doesn't feel in the same league. On the other hand it covers a very different vibe. I need to listen a bit more before passing judgement.
Oh except to say that Ambient Life and Convolving Universe are excellent and you should buy them right now from MP3 Tunes right now!
The Mercury Prize
Well I'm never known for my timeliness am I? The Mercury Music Prize has a few interesting contenders this year, neither of which were the Kaiser Chiefs or Bloc Party. Maximo Park were more interesting that I had previously thought and the folk entry Seth Lakeman actually seemed to be more than a token offering. Similarly The Magic Numbers were actually okay which is better than most bands Noel Gallagher tip.
KT Tunstall gave a great live performance but after checking out her album on iTunes I can't decide whether she is better live or whether she just went with her strongest material. Either way the recorded album is disappointing.
Winner Antony and the Johnsons gave a fantastic performance and I ended up buying the CD. I had seen it recommended before but had no idea what was on it. The lead song is brilliant and the rest of the album is good but not in the same league. Interestingly it is a very dark album with the spectre of death hanging over each track.
The real revelation was The Go! Team who just exploded on the TV screen and were simply more fun and far more inventive than anyone else performing (MIA is excellent but she's not as brilliant as she thinks or wants the public to think). Bleep had the album not too long after the awards so it was duly downloaded. The album is definitely harder listening than the live performance (and a lot of the tracks seem destined for re-recording and re-mastering I believe). However that same energetic invention was all present and correct. The easy comparision is with The Avalanches but instead of just pure 70's and charity store sampling there is a lot more live playing in the mix. Playing a riff or re-recording a rap allows for a different feel to the track. It may be retro but it isn't boring.
KT Tunstall gave a great live performance but after checking out her album on iTunes I can't decide whether she is better live or whether she just went with her strongest material. Either way the recorded album is disappointing.
Winner Antony and the Johnsons gave a fantastic performance and I ended up buying the CD. I had seen it recommended before but had no idea what was on it. The lead song is brilliant and the rest of the album is good but not in the same league. Interestingly it is a very dark album with the spectre of death hanging over each track.
The real revelation was The Go! Team who just exploded on the TV screen and were simply more fun and far more inventive than anyone else performing (MIA is excellent but she's not as brilliant as she thinks or wants the public to think). Bleep had the album not too long after the awards so it was duly downloaded. The album is definitely harder listening than the live performance (and a lot of the tracks seem destined for re-recording and re-mastering I believe). However that same energetic invention was all present and correct. The easy comparision is with The Avalanches but instead of just pure 70's and charity store sampling there is a lot more live playing in the mix. Playing a riff or re-recording a rap allows for a different feel to the track. It may be retro but it isn't boring.
Sunday, August 14, 2005
Y'Dig!?
I recently saw the film Dig! at the Everyman Cinema in Hampstead (great place, screen 2 has, well, sofas instead of seats; I can't think of anywhere else I'd want to watch a film).
The film covers the story of two bands: The Dandy Warhols and The Brian Jonestown Massacre. You've probably heard of the former but you're pretty lucky if you've ever heard of the latter (I knew they were a good choice if you want to be hip but not more than that).
Starting out as new bands at roughly the same time the Warhols are stars while Brian Jonestown Massacre ended up in heroin-addled obscurity.
The film isn't an unbiased view of rock bands as it seems to conciously or unconciously subscribe to the tradition view of rock music as being made up of self-abusive genius musicians bent on self-destruction. The more fucked up you are the better music you'll make.
In this view of rock the Dandy Warhols are of course dirty corporate sell-outs who talk about a lifestyle they watch but don't participate in. Now the Dandies (most famous for a track that, no matter how good it is, was popularised by a mobile phone advert) probably are dirty sell-outs but the thing that struck me about the film is how tired the traditional rock narrative is.
Realistically does anyone believe that good music is something other than a productive collaboration? If music is all about the heroic individual genius how come there are so many musicians that fail to have solo careers that match the output of their previous band partnerships?
The real reason the Dandies are more famous than the Jonestown Massacre is simply that they have managed to produce progressively better tunes as a unit. Numerous lineup changes results in an effectual reset of musical progress as far as I can tell from the evidence of this film. The Jonestown Massacre continue to push a Sixties retro-revivalist vibe that actually sounds more tired at the end of the film than when they started.
The film gives plenty of food for thought and is actually pretty cool and funny most of the time which puts the bitterness of success and failure into a stronger contrast. I'd recommend getting a hold of a copy on DVD if you can, it's entertaining and never lags.
The film covers the story of two bands: The Dandy Warhols and The Brian Jonestown Massacre. You've probably heard of the former but you're pretty lucky if you've ever heard of the latter (I knew they were a good choice if you want to be hip but not more than that).
Starting out as new bands at roughly the same time the Warhols are stars while Brian Jonestown Massacre ended up in heroin-addled obscurity.
The film isn't an unbiased view of rock bands as it seems to conciously or unconciously subscribe to the tradition view of rock music as being made up of self-abusive genius musicians bent on self-destruction. The more fucked up you are the better music you'll make.
In this view of rock the Dandy Warhols are of course dirty corporate sell-outs who talk about a lifestyle they watch but don't participate in. Now the Dandies (most famous for a track that, no matter how good it is, was popularised by a mobile phone advert) probably are dirty sell-outs but the thing that struck me about the film is how tired the traditional rock narrative is.
Realistically does anyone believe that good music is something other than a productive collaboration? If music is all about the heroic individual genius how come there are so many musicians that fail to have solo careers that match the output of their previous band partnerships?
The real reason the Dandies are more famous than the Jonestown Massacre is simply that they have managed to produce progressively better tunes as a unit. Numerous lineup changes results in an effectual reset of musical progress as far as I can tell from the evidence of this film. The Jonestown Massacre continue to push a Sixties retro-revivalist vibe that actually sounds more tired at the end of the film than when they started.
The film gives plenty of food for thought and is actually pretty cool and funny most of the time which puts the bitterness of success and failure into a stronger contrast. I'd recommend getting a hold of a copy on DVD if you can, it's entertaining and never lags.
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