Wednesday, 29 October 2008
Friday, 24 October 2008
Admittedly this has nothing to do with music and this is supposedly a blog about music, when I'm actually finding it possible to write anything that I think is worth 5 minutes of your time. But, it is no secret of mine that I want to travel America, possibly live there if the time and situation is right and as such I pay a fair amount of attention to their activities. America fascinates me, for it's grandiose nature, for their optimism and national pride, for their ability to do everything in the most outrageous, celebratory way possible. The country has a thirst for life, the constant motivation to be the best, outperform everyone else and being quite a competitive person, it's something I admire and find myself drawn towards.
However, I want to travel America to discover the real America, the real people in the little towns in addition to the ridiculous coolness of the big cities. But there are parts of America that scare me. There are people so entrenched in views of past generations and are hanging around, affecting the future of an America that is trying to move forwards, make itself a better place. People like these. As you may have noticed, America is electing a new president shortly and it is widely perceived that Barack Obama will win the election, the election is now his to lose. I've seen some Obama campaign commercials during hockey broadcasts and I must admit, they are incredibly persuasive. The incessant idea that change is the way to make America a grander place, coupled with his calm but authoritative approach, make Obama seem like a natural leader with a thought-out clear plan. The Republicans being the first to throw insults has also not hurt Obama and with Palin the constant wildcard throughout the election, alienating and uniting voters in equal measures, it is going to be an interesting result to see a Vietnam hero shunned by the country he fought to protect.
However, this is America we're talking about and not everything is as simple as that. This article by the BBC interviews a Democrat supporter, one that will not vote for Obama because he is Black. "Black's just cause trouble, that's the taste I've got in my mouth." says Charles, a registered democrat voter in Uniontown Pennsylvania.
Scary eh? I know the idea of democracy is that you vote for the party that best represents your ideals, that everybody has a say in how their country is run, it is widely accepted that Democracy rules. And ultimately this guy has as much right to make his comments as I do mine, that's what free speech is. But for a country that is supposedly built on equality and that everyone can get their own American dream, a country whose liberties such as these that McCain fought for, would he be so proud to know that votes that are cast his way will be done so by those who do not believe in his party ideals, but believe simply in the colour of his skin?
Racism is an inherent problem that will never go away. It will become increasingly marginalised and as we develop a more multi-cultural society, the kids of today will grow up, hopefully, being more tolerant of others. But you wonder if, in America, that their land mass is just too big for this to ever happen, that there will always be pockets of racism that have as valued a say as everyone else in America.
I recommend you read the article just to open your eyes a little bit to the problems Obama still faces despite his apparent certainty at becoming president. And don't worry, it's nowhere near as long as this blog post!
However, I want to travel America to discover the real America, the real people in the little towns in addition to the ridiculous coolness of the big cities. But there are parts of America that scare me. There are people so entrenched in views of past generations and are hanging around, affecting the future of an America that is trying to move forwards, make itself a better place. People like these. As you may have noticed, America is electing a new president shortly and it is widely perceived that Barack Obama will win the election, the election is now his to lose. I've seen some Obama campaign commercials during hockey broadcasts and I must admit, they are incredibly persuasive. The incessant idea that change is the way to make America a grander place, coupled with his calm but authoritative approach, make Obama seem like a natural leader with a thought-out clear plan. The Republicans being the first to throw insults has also not hurt Obama and with Palin the constant wildcard throughout the election, alienating and uniting voters in equal measures, it is going to be an interesting result to see a Vietnam hero shunned by the country he fought to protect.
However, this is America we're talking about and not everything is as simple as that. This article by the BBC interviews a Democrat supporter, one that will not vote for Obama because he is Black. "Black's just cause trouble, that's the taste I've got in my mouth." says Charles, a registered democrat voter in Uniontown Pennsylvania.
Scary eh? I know the idea of democracy is that you vote for the party that best represents your ideals, that everybody has a say in how their country is run, it is widely accepted that Democracy rules. And ultimately this guy has as much right to make his comments as I do mine, that's what free speech is. But for a country that is supposedly built on equality and that everyone can get their own American dream, a country whose liberties such as these that McCain fought for, would he be so proud to know that votes that are cast his way will be done so by those who do not believe in his party ideals, but believe simply in the colour of his skin?
Racism is an inherent problem that will never go away. It will become increasingly marginalised and as we develop a more multi-cultural society, the kids of today will grow up, hopefully, being more tolerant of others. But you wonder if, in America, that their land mass is just too big for this to ever happen, that there will always be pockets of racism that have as valued a say as everyone else in America.
I recommend you read the article just to open your eyes a little bit to the problems Obama still faces despite his apparent certainty at becoming president. And don't worry, it's nowhere near as long as this blog post!
Thursday, 23 October 2008
Just to draw your attention to a rather interesting article on the Guardian's website about the late, great John Peel and our fascinatoin with the DJ. Whilst some people view him as a national treasure, the article debates whether he was in fact just a man doing his job better than all the other Radio 1 DJ's.
Though BBC Radio has broadened it's horizons with the addition of digital stations such as 6 music or 1 extra, it is arguable to say that Zane Lowe, Steve Lamacq or Tom Robinson have had the same impact as John Peel did. It is also interesting to argue that with these broadening platforms, maybe the introduction to new music is through dedicated shows such as Bruce Dickinson's Hard Rock show, Fabio & Grooverider's drum & bass show or the Huw Stephens introducing show and the idea that John Peel introduced all sorts of new music was simply because there wasn't the space on the airwaves to have all these specialist shows. We have also become much more aware of these new specialist shows through the wonders of podcasting; the ability to listen to the DJ's top picks at our own convenience has surely boosted the notoriety of the DJ's without necessarily boosting the live listening figures of the shows. It would be interesting to see a comparison of the number of live listeners between John Peel's show and perhaps the Colin Murray show which is for me, a wonderful insight into new music, broadcast at a similar time as the John Peel show was. However, through the power of podcasting, Colin Murray is reaching a large audience and consequentially, offering his artists increased exposure. It would be interesting to see if Ricky Gervais or Russell Brand could compete in the podcast charts if they were up against a Peel podcast.
I remember listening to the Peel show sitting in the car waiting to pick up my sister and hearing an obscure, sparse electronic track, followed by a heavy metal song. It was this complete disregard for theme or direction that made Peel's show such an eye-opener. It was his familiar voice and wonderful coined phrases that have left him open to such repeated impersonation - they do say that imitation is the greatest form of flattery...
It is now four years since Peel joined the great decks in the sky and this has been accompanied by yet another book. I'm just about to start reading his autobiography which was finished posthumously by his wife and as such, should be the closest account of the great man's psyche. I'll let you know if it's as good a read as I expect it to be.
Though BBC Radio has broadened it's horizons with the addition of digital stations such as 6 music or 1 extra, it is arguable to say that Zane Lowe, Steve Lamacq or Tom Robinson have had the same impact as John Peel did. It is also interesting to argue that with these broadening platforms, maybe the introduction to new music is through dedicated shows such as Bruce Dickinson's Hard Rock show, Fabio & Grooverider's drum & bass show or the Huw Stephens introducing show and the idea that John Peel introduced all sorts of new music was simply because there wasn't the space on the airwaves to have all these specialist shows. We have also become much more aware of these new specialist shows through the wonders of podcasting; the ability to listen to the DJ's top picks at our own convenience has surely boosted the notoriety of the DJ's without necessarily boosting the live listening figures of the shows. It would be interesting to see a comparison of the number of live listeners between John Peel's show and perhaps the Colin Murray show which is for me, a wonderful insight into new music, broadcast at a similar time as the John Peel show was. However, through the power of podcasting, Colin Murray is reaching a large audience and consequentially, offering his artists increased exposure. It would be interesting to see if Ricky Gervais or Russell Brand could compete in the podcast charts if they were up against a Peel podcast.
I remember listening to the Peel show sitting in the car waiting to pick up my sister and hearing an obscure, sparse electronic track, followed by a heavy metal song. It was this complete disregard for theme or direction that made Peel's show such an eye-opener. It was his familiar voice and wonderful coined phrases that have left him open to such repeated impersonation - they do say that imitation is the greatest form of flattery...
It is now four years since Peel joined the great decks in the sky and this has been accompanied by yet another book. I'm just about to start reading his autobiography which was finished posthumously by his wife and as such, should be the closest account of the great man's psyche. I'll let you know if it's as good a read as I expect it to be.
Bloc Party Takeover
For those of you that haven't noticed, Bloc Party are taking over the Guardian Music section this week with Kele becoming an Agony Aunt and offering some sexy advice, Matt Tong showing us all how to cook, Gordon Moakes with some more serious journalism on the music that inspired Bloc Party and developed his own musical stylings as well as important musical places around London. And the traditional silence from Russell.
As intimacy gears up for it's physical release on Monday, Bloc Party are full of suprises:
- The vinyl and picture disc in addition to the CD
- The iTunes live EP being released on Sunday which I can't wait for - one of the more special shows I've attended to say the least
- An HMV instore appearance on Monday
- A Jools Holland appearance this week
- Two new songs on the end of the album, Letter To My Son & Your Visits Are Getting Shorter
- NME interviews
- A Reworked Marshals
This is sterling stuff from the London lads and shows that they're putting their full weight behind an album that's been in the public domain for so long already anyway. Just goes to show that record sales really do still matter. Bloc albums don't come along nearly as often as I'd like them to so it's great that they're immersing themselves in this release and offering as much as possible. Exciting times.
As intimacy gears up for it's physical release on Monday, Bloc Party are full of suprises:
- The vinyl and picture disc in addition to the CD
- The iTunes live EP being released on Sunday which I can't wait for - one of the more special shows I've attended to say the least
- An HMV instore appearance on Monday
- A Jools Holland appearance this week
- Two new songs on the end of the album, Letter To My Son & Your Visits Are Getting Shorter
- NME interviews
- A Reworked Marshals
This is sterling stuff from the London lads and shows that they're putting their full weight behind an album that's been in the public domain for so long already anyway. Just goes to show that record sales really do still matter. Bloc albums don't come along nearly as often as I'd like them to so it's great that they're immersing themselves in this release and offering as much as possible. Exciting times.
Tuesday, 21 October 2008
Out of the Ashes, Rise the Flames
To some of you, Fell City Girl will be a familiar name. I was introduced to the Oxfordshire band and their fantastic second EP entitled February Snow nearly two years ago now by a friend at Uni. They created massive soundscapes through delayed guitars, heavily reverberated drums and a voice that was as amateurish as it was inspiring. Though it faltered and his diction was less than perfect, it was the obviously personal lyrics that allowed the listener to connect with Fell City Girl, in spite of their cheesy approach.February Snow demonstrates an intelligent approach to rhythm and dynamic, using James Pamphilion's drumming to emphasise when you should pay attention to the ferocity of the lyrics and when you should sit back and immerse yourself in a sea of delayed guitars. The song is littered with vaguely thought-provoking lyrics such as
"I said I'd be here and I am,
back home my world is falling down,
I know it's sad,
but that's the way it is"
Encouraging you to remember the times you were somewhere you didn't want to be, dealing with situations that were against your control, felling helpless but accepting that you roll with the punches and keep going. Despite it's less-than-distinctive qualities, Phil's voice carries over the chorus with a traditional message of hope
"Let's leave this town
You said as we float like balloons
Up up and away
Through the February snow"
Helplines was another stand out track for me, a simple acoustic guitar smothered with violins and white noise to fulfill all that your ears demand. The lyrics again can be taken as superficially as you want them to but the track and it's delicacy are unavoidable and the EP carries Fell City Girl over the expectation of another guitar based indie-foursome who've clearly just bought delay pedals and are having way too much fun experimenting with them. The EP provides shots of power, shots of delicacy and a massive sounding drum kit.
And that's where the story ends I'm afraid. March 2007 saw the end of Fell City Girl, a split that was supposedly amicable but the pressures of recording that final EP may have been the nail in the coffin. And so we come to The Winchell Riots.Guitarist Phil and Drummer James joined forces again for The Winchell Riots in 2007 and made an impressive start. Their debut show at the Oxford academy sold out long in advance, they played festivals and were highly touted by industry figures and iTunes for Manchester's annual In The City conference.
Their recent EP "Histories" continues pretty much where Fell City Girl finished with all the necessary ingredients - delay, overly loud drums and Phil's vocals. This is clearest in my favourite track so far - The Man Who Mapped The Oceans. The song begins like any pretentious indie song should, with awkward rhythmic stabs from the guitarists and drummer. Eventually a theme develops and the song progresses into a soaring song that could've been lifted from any of Fell City Girl's earlier work.
Though the band are relatively new and to be fair, almost carbon copies of Fell City Girl, this is not necessarily a bad thing. Kind of like the new Pumpkins. It's the same sound with the same essential members and that's what makes me like The Winchell Riots. They have a handful of dates coming up. All information can be found here:
Wednesday, 15 October 2008
James Yuill - Turning Down Water For Air
Ok, while I write my massive review of Intimacy, a quick overview of an album that's been tearing up my iPod recently. James Yuill is signed to Moshi Moshi and though another electro-folk artist probably isn't need at the minute, James' album sits well among his contemporaries providing a few moments of brilliance that shine above the rest.
Turning Down Water For Air is James Yuill's debut effort and has earnt him rave reviews from many sources. James was one of those walkby artists that I heard at Latitude and whose name I made a note of for future reference. It turns out Pete had already recommended James to me and since then, I've been keeping a keen eye on his development.
The album has two particular standout tracks for me and they are coupled together, No Pins Allwoed and This Sweet Love demonstrate James' wide influences in two 3 minute journeys, from his dancefloor stomping beats, via smooth acoustic guitars and a calming vocal to comfort the listener. No Pins Allowed is the dancier of the two songs with lots distorted synths and a singalong chorus. New single, This Sweet Love is the more relaxed of the two tracks but still showcases the laptop beats that provide the pace to the album. There are also gorgeous supporting harmonies provided by James himself but restrained enough in the mix to not impose.
Also of note is James' cover of Radiohead's Packt Like Sardines in a Crushd Tin Box. The Amnesiac era classic is this time layered with plenty of acoustic guitar, Yuill taking the approach that more is definately better and filling your ears with lots of electronic bleeps and beats and plenty of guitar.
Recommended downloading:
Packt Like Sardines in a Crushd Tin Box
No Pins Allowed
Head Over Heels
Turning Down Water For Air is James Yuill's debut effort and has earnt him rave reviews from many sources. James was one of those walkby artists that I heard at Latitude and whose name I made a note of for future reference. It turns out Pete had already recommended James to me and since then, I've been keeping a keen eye on his development.
The album has two particular standout tracks for me and they are coupled together, No Pins Allwoed and This Sweet Love demonstrate James' wide influences in two 3 minute journeys, from his dancefloor stomping beats, via smooth acoustic guitars and a calming vocal to comfort the listener. No Pins Allowed is the dancier of the two songs with lots distorted synths and a singalong chorus. New single, This Sweet Love is the more relaxed of the two tracks but still showcases the laptop beats that provide the pace to the album. There are also gorgeous supporting harmonies provided by James himself but restrained enough in the mix to not impose.
Also of note is James' cover of Radiohead's Packt Like Sardines in a Crushd Tin Box. The Amnesiac era classic is this time layered with plenty of acoustic guitar, Yuill taking the approach that more is definately better and filling your ears with lots of electronic bleeps and beats and plenty of guitar.
Recommended downloading:
Packt Like Sardines in a Crushd Tin Box
No Pins Allowed
Head Over Heels
Thursday, 2 October 2008
Lykke Li @ The Scala 1/10/08
It's been a ridiculously long time since I've reviewed a live show in addition to blogging so this will be slightly disjointed but when reviewing a show that flowed so well, it shouldn't be too tough!
So we arrived at the Scala with high expectations of both acts performing. Let's just say life hasn't been going swimmingly for me recently with one thing and another and this was a welcome night out, especially in the company of my favourite Swedish electro-pop female, quite the accolade i'm sure you realise.
Having already seen Lykke Li live way back in June at Latitude festival, I have since rinsed the album, listened to it until I could listen no more and then made my peace with it, so it was an excellent opportunity to renew my fascination with one of my favourite albums of the year so far and in particular, a song that is dripping with meaning for me currently.
First up however was Micachu, an artist whose name has been knocking around for a while and has earnt her some prestigious support slots, including Esser and Lykke Li whilst also playing London's Concrete & Glass festival and Manchester's In The City. However, I failed to see what all the fuss is about. Taking to the stage with a similar setup to Lykke Li with her acoustic guitar, keyboard and sampled drums, Micachu failed to capture the intimate nature of the night. The horrible overdrive that was layered over her tiny acoustic guitar destroyed the only passable lead instrument and wailing vocals did little to engage or inspire an audience with high expectations. For me, she was a complete flop, there were moments that showed promise but for those to be dashed left me feeling particularly unfulfilled by an artist that promised so much.
However, I wasn't there to see Micachu. And as Lykke Li's instrumentalists took to the stage to the sounds of her album opener 'Melodies and Desires', I remembered why I fell in love with the album, why I bought these tickets so long ago and why she managed to sell out the Scala. The bleak instrumentation and electronic bleeps set the tone for what was to be a mesmerising hour.
You can't help but be entranced by Lykke's hypnotic rhythm and delicate vocal to songs that she understands has got her quite the reputation. And she duly delivers, playing every song from Youth Novels that you want to hear, even refraining Dance, Dance, Dance during her astounding cover of Vampire Weekend's Cape Cod Kwassa Kwassa. As the mixed crowd roars when the opening samples from Little Bit are played, it is evident that the rinsing Radio 1 has given to Breaking It Up has not turned Lykke Li into a one hit wonder; not for that song anyway. And it is during Little Bit that for me, Lykke peaks. We'd been commenting throughout that her vocal hadn't been quite hitting the notes, that she seemed nervous. Who wouldn't be at the biggest show she's ever played? But during Little Bit, everything seemed to fall into place and as cliched as it sounds, you truly become lost in the moment, witnessing a girl in her element singing a song of such intensity and maturity it is impossible not to wonder if this is the best performance she has ever given.
Her set could easily have peaked there but with Complaint Department and Window Blues still to come, Lykke continued the wave of euphoria and wonder that was sweeping the audience and the doublet-time ending to Complaint Department is something that can only be really appreciated live. It was also amazing to hear her unknown track Until We Bleed live, a venture that she took with Swedish producer Kleerup (of With Every Heartbeat fame). And as Breaking It Up brought her set to a close, it was clear that months on the road for Lykke Li has built within her a sense of true pride in her songs and also built a loyal fanbase for her to perform to. And you can count me among them.
So we arrived at the Scala with high expectations of both acts performing. Let's just say life hasn't been going swimmingly for me recently with one thing and another and this was a welcome night out, especially in the company of my favourite Swedish electro-pop female, quite the accolade i'm sure you realise.
Having already seen Lykke Li live way back in June at Latitude festival, I have since rinsed the album, listened to it until I could listen no more and then made my peace with it, so it was an excellent opportunity to renew my fascination with one of my favourite albums of the year so far and in particular, a song that is dripping with meaning for me currently.
First up however was Micachu, an artist whose name has been knocking around for a while and has earnt her some prestigious support slots, including Esser and Lykke Li whilst also playing London's Concrete & Glass festival and Manchester's In The City. However, I failed to see what all the fuss is about. Taking to the stage with a similar setup to Lykke Li with her acoustic guitar, keyboard and sampled drums, Micachu failed to capture the intimate nature of the night. The horrible overdrive that was layered over her tiny acoustic guitar destroyed the only passable lead instrument and wailing vocals did little to engage or inspire an audience with high expectations. For me, she was a complete flop, there were moments that showed promise but for those to be dashed left me feeling particularly unfulfilled by an artist that promised so much.
However, I wasn't there to see Micachu. And as Lykke Li's instrumentalists took to the stage to the sounds of her album opener 'Melodies and Desires', I remembered why I fell in love with the album, why I bought these tickets so long ago and why she managed to sell out the Scala. The bleak instrumentation and electronic bleeps set the tone for what was to be a mesmerising hour.
You can't help but be entranced by Lykke's hypnotic rhythm and delicate vocal to songs that she understands has got her quite the reputation. And she duly delivers, playing every song from Youth Novels that you want to hear, even refraining Dance, Dance, Dance during her astounding cover of Vampire Weekend's Cape Cod Kwassa Kwassa. As the mixed crowd roars when the opening samples from Little Bit are played, it is evident that the rinsing Radio 1 has given to Breaking It Up has not turned Lykke Li into a one hit wonder; not for that song anyway. And it is during Little Bit that for me, Lykke peaks. We'd been commenting throughout that her vocal hadn't been quite hitting the notes, that she seemed nervous. Who wouldn't be at the biggest show she's ever played? But during Little Bit, everything seemed to fall into place and as cliched as it sounds, you truly become lost in the moment, witnessing a girl in her element singing a song of such intensity and maturity it is impossible not to wonder if this is the best performance she has ever given.
Her set could easily have peaked there but with Complaint Department and Window Blues still to come, Lykke continued the wave of euphoria and wonder that was sweeping the audience and the doublet-time ending to Complaint Department is something that can only be really appreciated live. It was also amazing to hear her unknown track Until We Bleed live, a venture that she took with Swedish producer Kleerup (of With Every Heartbeat fame). And as Breaking It Up brought her set to a close, it was clear that months on the road for Lykke Li has built within her a sense of true pride in her songs and also built a loyal fanbase for her to perform to. And you can count me among them.
Wednesday, 1 October 2008
Ok, so I've fallen out of blogging. But I miss it and I want to do it again.
I've been listening to lots of inspiring new music, whether its the superb 'Intimacy', the transcendent 'Only By The Night' or my new favourite album, 'Playlist: The very best of Cypress Hill' which has moments of absolute genius that a fan of any music can relate to, hippety hop fan or not (and im not).
So it's not like I haven't had good music to talk about or opinions to offer on anything. To be honest, I've just found it quite difficult to get some time to sit down, listen to an album and write about it. I listen to albums on the train or whilst conquering the new NHL game. That's pretty much it. It's not like the old days where I sat in front of my computer listening to music instead of doing essays, sadly those days are gone. Now I listen to nothing while I collate press releases, artist contacts, deal with booking agents unsuccessfully and host quizzes. Life changes. However, my wrecking ball-esque opinions on music are still there, swinging violently from "I hate this album, they've got it all wrong" to "I love this album, never written a bad song". You know me, that's what I do.
It's been quite a hectic month, as some of you will understand more than others. I won't go into every detail, simply because it'll take me another month to describe all that's happened this month and then I'll have got nowhere with this blog. AGAIN. So let's just say that there have been:
Highs including:
-DJing at Planet which was ridiculously good fun, if this promoter stuff goes tits up, Im gonna be on the heels of Fatboy Slim in no time. Kudos to Anna Davison for the photo.
I've been listening to lots of inspiring new music, whether its the superb 'Intimacy', the transcendent 'Only By The Night' or my new favourite album, 'Playlist: The very best of Cypress Hill' which has moments of absolute genius that a fan of any music can relate to, hippety hop fan or not (and im not).
So it's not like I haven't had good music to talk about or opinions to offer on anything. To be honest, I've just found it quite difficult to get some time to sit down, listen to an album and write about it. I listen to albums on the train or whilst conquering the new NHL game. That's pretty much it. It's not like the old days where I sat in front of my computer listening to music instead of doing essays, sadly those days are gone. Now I listen to nothing while I collate press releases, artist contacts, deal with booking agents unsuccessfully and host quizzes. Life changes. However, my wrecking ball-esque opinions on music are still there, swinging violently from "I hate this album, they've got it all wrong" to "I love this album, never written a bad song". You know me, that's what I do.
It's been quite a hectic month, as some of you will understand more than others. I won't go into every detail, simply because it'll take me another month to describe all that's happened this month and then I'll have got nowhere with this blog. AGAIN. So let's just say that there have been:
Highs including:
-DJing at Planet which was ridiculously good fun, if this promoter stuff goes tits up, Im gonna be on the heels of Fatboy Slim in no time. Kudos to Anna Davison for the photo.
-A wonderful day out in London with a beautiful girl, Natural History Museum (cool dinosaurs, disappointing spiders), a good film and lovely chinese food
-Being in charge of a night at work that involved looking after 6 bands, making sure they all hit stage on time, looking after security, promoters, sound and light crew, trying to control 600 people in a 140 capacity room, trying to control 800 people in a 600 capacity room and realising that Air Traffic are quite good live, as was Fionn Regan.
Lows including:
-Having the new NHL game delayed by 2 WEEKS just because I own a superior console to everyone else. Or so Sony keep telling me. Idiots.
-Working a lot of late nights or doing crappy jobs that I don't really enjoy. Don't get me wrong, I know life isn't always a dream and everyone has to pitch in but that doesn't mean I can't moan about it anyway.
So. This being a music blog, I will talk about music. Soon. I promise you. But I'm at work at the moment so it's difficult to review an album that I can't listen to. A few nuggets to keep you going however.
Kings of Leon track Closer is FAR FAR FAR better than that ridiculous Neyo song but for some reason, that gets more plays. Eventually, someone will realise and I hope this great wrong will be righted.
The new Bloc party album is actually pretty good. Now there's a surprise, I like a load more songs by Bloc Party. But I don't mean it like that. For once, it isn't me just bumming my favourite band, the lyrics are quite hit and miss for me, some of the songs I get and some fly right past me, as was the case on AWITC. However, it is the instrumentation, the ingenuity and the creative wrestling match that takes place on the album between not only the separate instruments but the two producers with their different styles, battling to make their mark on each track that really propels this album. It's got stupidly overdriven, electronic bass that was evident on Flux but the guitars can sound as good as any Always New Depths.
A full review to come I promise.
So Burial didn't win the Mercury, which was a shock but only because I thought he deserved it more than anyone else. I'll admit, I don't really get Elbow, so once I've listened to them, I'll maybe rethink this, but at the moment, this is a mistake of Belle and Sebastian proportions (those of you that know their musical history will know what that means)
I'm going to a few gigs in the next couple of months, including Lykke Li tonight, The Music at the Roundhouse at the end of October and Bloc Party way away in April next year at the ridiculously large Olympia. I'll also be taking my first trip to Matter for the Moshi Moshi 10th Birthday party to see - Kate Nash, Wave Pictures (amazing), James Yuill (amazing), Slow Club, Florence and the Machine with Hot Chip announced as headliners. Gonna be quite a night so I'll let you know how that goes down.
So, apologies for the long post, expect my full breakdown of Intimacy soon and hopefully, normal service will now be resumed. Thank you for your patience.
-Being in charge of a night at work that involved looking after 6 bands, making sure they all hit stage on time, looking after security, promoters, sound and light crew, trying to control 600 people in a 140 capacity room, trying to control 800 people in a 600 capacity room and realising that Air Traffic are quite good live, as was Fionn Regan.
Lows including:
-Having the new NHL game delayed by 2 WEEKS just because I own a superior console to everyone else. Or so Sony keep telling me. Idiots.
-Working a lot of late nights or doing crappy jobs that I don't really enjoy. Don't get me wrong, I know life isn't always a dream and everyone has to pitch in but that doesn't mean I can't moan about it anyway.
So. This being a music blog, I will talk about music. Soon. I promise you. But I'm at work at the moment so it's difficult to review an album that I can't listen to. A few nuggets to keep you going however.
Kings of Leon track Closer is FAR FAR FAR better than that ridiculous Neyo song but for some reason, that gets more plays. Eventually, someone will realise and I hope this great wrong will be righted.
The new Bloc party album is actually pretty good. Now there's a surprise, I like a load more songs by Bloc Party. But I don't mean it like that. For once, it isn't me just bumming my favourite band, the lyrics are quite hit and miss for me, some of the songs I get and some fly right past me, as was the case on AWITC. However, it is the instrumentation, the ingenuity and the creative wrestling match that takes place on the album between not only the separate instruments but the two producers with their different styles, battling to make their mark on each track that really propels this album. It's got stupidly overdriven, electronic bass that was evident on Flux but the guitars can sound as good as any Always New Depths.
A full review to come I promise.
So Burial didn't win the Mercury, which was a shock but only because I thought he deserved it more than anyone else. I'll admit, I don't really get Elbow, so once I've listened to them, I'll maybe rethink this, but at the moment, this is a mistake of Belle and Sebastian proportions (those of you that know their musical history will know what that means)
I'm going to a few gigs in the next couple of months, including Lykke Li tonight, The Music at the Roundhouse at the end of October and Bloc Party way away in April next year at the ridiculously large Olympia. I'll also be taking my first trip to Matter for the Moshi Moshi 10th Birthday party to see - Kate Nash, Wave Pictures (amazing), James Yuill (amazing), Slow Club, Florence and the Machine with Hot Chip announced as headliners. Gonna be quite a night so I'll let you know how that goes down.
So, apologies for the long post, expect my full breakdown of Intimacy soon and hopefully, normal service will now be resumed. Thank you for your patience.
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