Though I must say The Enemy's new album is truly awful. And I love the first one so it's nothing to do with them or being snobbish or anything like that, it's just poorly thought out, paced all wrong, sounds ridiculous, just a mess. The pace of the first album and the depth that some of the songs showed has jsut plain disappeared.
And anybody that is a "fan of the smell of petrol" needs to stop smoking as it's destroying your sense of smell. It's awful, it's kept in big containers as it's fumes are very dangerous. Glade have a Fresh Linen scent, not a Petrol Station scent FOR A REASON.
One last thing, becoming a fan of "Sunny Weather" or "The Sunshine" or anything else weather related is ridiculous. Of course you're a fan of the sunshine, its a fact, proven in surveys across the world that people GENERALLY like warmer weather. If you're a fan of a band on facebook for example, they will send you useful updates of album progress or TV shows will tell you when they're returning to the air (New Weeds soon, woop).
Being a fan of sunshine tells me nothing about your personality apart from you're a sucker for things facebook suggests to you.
Wednesday, 29 April 2009
Writing is a mysterious thing. I can go through deluges of writing, feeling inspired and creative about the littlest things, listening to a certain album can make you investigate its roots, the main players and the forgotten gems in an attempt to gain true appreciation of the songs you hear, to hear them in the way the artist heard them.
Conversely, you can think of topics, hear albums you love and have nothing. In the last week alone I heard the long awaited esser album, loved it (for the most part) and have bupkis to say. I thought I'd hit the jackpot when chatting with Lauren about Led Zepplin and how it was weird that I probably had a completely different appreciation of them to her as my musical upbringing was more on the proggy side as opposed to Lauren's soul and jazz influences.
Surely that'd make a great blog post, an interesting investigation on why I love Explosions in the Sky but don't feel some of Lauren's more funky tunes and she hates their guts? It would. Except I cant write it.
It is often said that your hardest critic is yourself. It's one of those weird double-edged swords in that often you can also have complete self-belief whilst everyone around you is less than convinced. This blog has been in many variations, originally a leaky type blog until I got a particularly threatening email about sharing music, then some sort of commentary on my time at uni and now this, whatever it is, an outlet for my thoughts on music, trying to retain that sense that I may know slightly more than the average person about music when really, we're all the same.
My conclusion is this. This was a place to tell my friends about the music I'm listening to and enjoying, which at the time was only new music. Now my horizons have expanded a little bit, encompassing a much wider range of music than I ever deemed possible. But it's still all there.
I still love music. I still love writing about music, still love the thrill of hearing a long awaited album and then dissecting it piece by piece, its production, its influences, its strength both as a song and as part of a more complete artistic package.
Boywithacoin is a pleasure to have, a little difficult to maintain at times but only due to my own levels of self-criticism, with inspiration and ideas. It will always be an opportunity to vent anger at music industry type things, at life type things and thing type things. Whoever reads it, I hope you enjoy your stay here however long it may be. It is very easy to move onto the next blog if this isn't updated very often. And of course that's fine. But I'll still be here, plugging away. If you're a regular, thank you. It sounds contrite but it means a lot.
Until next time.
Conversely, you can think of topics, hear albums you love and have nothing. In the last week alone I heard the long awaited esser album, loved it (for the most part) and have bupkis to say. I thought I'd hit the jackpot when chatting with Lauren about Led Zepplin and how it was weird that I probably had a completely different appreciation of them to her as my musical upbringing was more on the proggy side as opposed to Lauren's soul and jazz influences.
Surely that'd make a great blog post, an interesting investigation on why I love Explosions in the Sky but don't feel some of Lauren's more funky tunes and she hates their guts? It would. Except I cant write it.
It is often said that your hardest critic is yourself. It's one of those weird double-edged swords in that often you can also have complete self-belief whilst everyone around you is less than convinced. This blog has been in many variations, originally a leaky type blog until I got a particularly threatening email about sharing music, then some sort of commentary on my time at uni and now this, whatever it is, an outlet for my thoughts on music, trying to retain that sense that I may know slightly more than the average person about music when really, we're all the same.
My conclusion is this. This was a place to tell my friends about the music I'm listening to and enjoying, which at the time was only new music. Now my horizons have expanded a little bit, encompassing a much wider range of music than I ever deemed possible. But it's still all there.
I still love music. I still love writing about music, still love the thrill of hearing a long awaited album and then dissecting it piece by piece, its production, its influences, its strength both as a song and as part of a more complete artistic package.
Boywithacoin is a pleasure to have, a little difficult to maintain at times but only due to my own levels of self-criticism, with inspiration and ideas. It will always be an opportunity to vent anger at music industry type things, at life type things and thing type things. Whoever reads it, I hope you enjoy your stay here however long it may be. It is very easy to move onto the next blog if this isn't updated very often. And of course that's fine. But I'll still be here, plugging away. If you're a regular, thank you. It sounds contrite but it means a lot.
Until next time.
Wednesday, 15 April 2009
(Mis)Behaving at gigs
I'm not very good at reviewing gigs, they played this, the lights did this, everyone went home. Job done. Bloc Party are equally hard to review, they play the songs with the kind of ferocious energy you expect them to, a little crowd banter and the wander off to Dirty Dancing songs, it's your average rock n roll gig, however breathtaking.
Even when being supported by Foals (whose new songs sounded amazing), I struggle to write a piece that doesn't SOUND heartless, however much I enjoy the gig.
But there is a problem I have with gigs, not just with this gig, but gigs in general.
Saturday was a much needed break for me, I've been working hard recently, I hadn't seen Pete since Christmas and Bloc Party in even longer so it was a night I'd been looking forward to in quite a while.
As a respectful 22 year old, I am entitled to have a few drinks and by the time 3 pints had gone, Bloc Party arrived on stage and I was the slightest bit lary. Now when I was younger, I would be at the very front, with someone using my shoulders as a platform to jump and it hurt as they pushed down on me and then kneed me in the back as they landed again. It was part of the gig though, that's what happens if you mooch around at the front, accept it and move on.
As I've got older, I'm not really up for the whole claustrophobic mess of the pits anymore so I go a little further back, drink and throw some shapes without surging into someone at random intervals and generally enjoy myself. I don't invade anyone's personal space as I'm still close enough that personal space is really not an applicable term.
However. People still feel the need to push you, give you stares and generally treat you like a twat as you seem to be enjoying yourself. I forget when exactly it became unreasonable to have a bit of a dance to your favourite bands whilst wanting to keep hold of your wallet, keys and trainers. At the event at work this weekend, you literally couldn't move for people dancing, to get from one place to another, you had to dance your way across a room. There were bands, people danced, DJ's - dancing, the lights came up and people still danced outside the venue (the powers of A class drugs).
However, the idea that at a rock and roll show you are only allowed to get crushed at the front or stand completely still and watch is ridiculous. If your deathly stare at a band is interrupted by someone dancing and having fun, please sit in the balcony's, almost every venue has them. Kensington Olympia is fucking massive and still had a balcony. Look down on the swarming, dancing masses and appreciate the sight. Do not treat me like I'm an idiot for having fun.
It's very annoying
Even when being supported by Foals (whose new songs sounded amazing), I struggle to write a piece that doesn't SOUND heartless, however much I enjoy the gig.
But there is a problem I have with gigs, not just with this gig, but gigs in general.
Saturday was a much needed break for me, I've been working hard recently, I hadn't seen Pete since Christmas and Bloc Party in even longer so it was a night I'd been looking forward to in quite a while.
As a respectful 22 year old, I am entitled to have a few drinks and by the time 3 pints had gone, Bloc Party arrived on stage and I was the slightest bit lary. Now when I was younger, I would be at the very front, with someone using my shoulders as a platform to jump and it hurt as they pushed down on me and then kneed me in the back as they landed again. It was part of the gig though, that's what happens if you mooch around at the front, accept it and move on.
As I've got older, I'm not really up for the whole claustrophobic mess of the pits anymore so I go a little further back, drink and throw some shapes without surging into someone at random intervals and generally enjoy myself. I don't invade anyone's personal space as I'm still close enough that personal space is really not an applicable term.
However. People still feel the need to push you, give you stares and generally treat you like a twat as you seem to be enjoying yourself. I forget when exactly it became unreasonable to have a bit of a dance to your favourite bands whilst wanting to keep hold of your wallet, keys and trainers. At the event at work this weekend, you literally couldn't move for people dancing, to get from one place to another, you had to dance your way across a room. There were bands, people danced, DJ's - dancing, the lights came up and people still danced outside the venue (the powers of A class drugs).
However, the idea that at a rock and roll show you are only allowed to get crushed at the front or stand completely still and watch is ridiculous. If your deathly stare at a band is interrupted by someone dancing and having fun, please sit in the balcony's, almost every venue has them. Kensington Olympia is fucking massive and still had a balcony. Look down on the swarming, dancing masses and appreciate the sight. Do not treat me like I'm an idiot for having fun.
It's very annoying
Tuesday, 7 April 2009
This week sees a veritable feast of new albums to take away, from debuts, through breakthroughs to comebacks, all encapsulated in 4 albums that are different in every possible way and all simply stunning.
So, first up we have the debut, from Dananananaykroyd. And what a debut. The band are the JD ultimate burger from TGI Friday’s, with two drummers, two guitarists, bass and shouty vocals, it is an album full of beef. And it sounds incredible. The Sissy Hits EP was a clear demonstration of a band that had the right idea, could pull it off stunningly live but weren’t quite ready to hit the studio, either the budget wasn’t big enough or they weren’t tight enough or were being too tight, something was not working.
Problem solved. It is an album simply bursting with energy, songs that twist and turn at breakneck speed, vocals dropping in and out, catchy and driving guitars, all backed up by the beefiest drum section north of the border. It is an album that lives and breathes to be played live but it is still an audio feast.
Dananananaykroyd SXSW Scottish Showcase Austin from NMK on Vimeo.
Next up is the second album from brightonian Natasha Khan and her alter-ego Bat For Lashes.
Receiving a mercury nomination is a weird cross for some artists to bear, some relish in the exposure that they receive because of their nomination (Belle & Sebastian), whilst others see it as an interruption to a musical legacy they were building (Burial). Either way, a concept album is a rare occurrence these days but backed up by superb instrumentation and an undeniable similarity to one Kate Bush, the album is full of imagination and exploration. Lead single Daniel is the clear choice for single, similar to Eurythmics and Everything But The Girl in its atmospherics, it is psychedelic pop in its greatest form.
Finally, the art of a comeback perfectly demonstrated by Doves and their 3rd album Kingdom of Rust. It’s difficult for bands from Manchester to not be labeled as either Oasis wannabes or Madchester-inspired so to have Doves back and releasing rousing guitar albums is a relief in more ways than one. Doves seem to make songs that they want to
make, whether it be the atmospheric lead track Jetstream, the alt-country lead single Kingdom of Rust or the older tracks such as M62 song or pounding. Doves are comfortable with their own sound, whatever form that may take and it is evident in the depth and structure of each album. Kingdom of Rust has launched Doves back into the public conscious, giving them prestigious slots at various festivals and headline tours at venues which are not to be sneered at. If it takes 4 years for the next Doves album to surface, there may not be space left for them. However, they are a wonderful antidote to the flood of nu-rave and foalsesque bands that are already drowning the market and it is an uplifting and enjoyable listen on a summers day.
So, first up we have the debut, from Dananananaykroyd. And what a debut. The band are the JD ultimate burger from TGI Friday’s, with two drummers, two guitarists, bass and shouty vocals, it is an album full of beef. And it sounds incredible. The Sissy Hits EP was a clear demonstration of a band that had the right idea, could pull it off stunningly live but weren’t quite ready to hit the studio, either the budget wasn’t big enough or they weren’t tight enough or were being too tight, something was not working.
Problem solved. It is an album simply bursting with energy, songs that twist and turn at breakneck speed, vocals dropping in and out, catchy and driving guitars, all backed up by the beefiest drum section north of the border. It is an album that lives and breathes to be played live but it is still an audio feast.
Dananananaykroyd SXSW Scottish Showcase Austin from NMK on Vimeo.
Next up is the second album from brightonian Natasha Khan and her alter-ego Bat For Lashes.
Receiving a mercury nomination is a weird cross for some artists to bear, some relish in the exposure that they receive because of their nomination (Belle & Sebastian), whilst others see it as an interruption to a musical legacy they were building (Burial). Either way, a concept album is a rare occurrence these days but backed up by superb instrumentation and an undeniable similarity to one Kate Bush, the album is full of imagination and exploration. Lead single Daniel is the clear choice for single, similar to Eurythmics and Everything But The Girl in its atmospherics, it is psychedelic pop in its greatest form.Finally, the art of a comeback perfectly demonstrated by Doves and their 3rd album Kingdom of Rust. It’s difficult for bands from Manchester to not be labeled as either Oasis wannabes or Madchester-inspired so to have Doves back and releasing rousing guitar albums is a relief in more ways than one. Doves seem to make songs that they want to
make, whether it be the atmospheric lead track Jetstream, the alt-country lead single Kingdom of Rust or the older tracks such as M62 song or pounding. Doves are comfortable with their own sound, whatever form that may take and it is evident in the depth and structure of each album. Kingdom of Rust has launched Doves back into the public conscious, giving them prestigious slots at various festivals and headline tours at venues which are not to be sneered at. If it takes 4 years for the next Doves album to surface, there may not be space left for them. However, they are a wonderful antidote to the flood of nu-rave and foalsesque bands that are already drowning the market and it is an uplifting and enjoyable listen on a summers day.
Wednesday, 1 April 2009
Sugar I'm going down swinging...
Admittedly it's only April, but I have my first shout for album of the year. Having witnessed the enigmatic and energetic Fall Out Boy live a couple of times, it was a great day to discover a Fall Out Boy live album was on the way. Featuring FOB classics such as "Thnks Fr Th Mmrs" along with classic covers of Michael Jackson's "Beat It", it seems Fall Out Boy have finally managed to make an album thaasakplfdnksfdkjndsf mdsfg....
I just can't do it. Call it an April Fool's, call it some of the most blatant cashing in on what are a notoriously poor live band, whatever, you will be pleased to know that one of my favourite albums this year does not feature a load of Illinois pop punks.
Instead, the best new album of 2009 so far is written and performed by a little known South-African trio, Dear Reader.
Folk-pop, for want of a better term, is the easiest way to describe Dear Reader. I've already mentioned the simply breathtaking single Dear Heart and now that the album is out in the great unknown, im glad to say that it is a joy from beginning to end.
Each track on "Replace Why With Funny" has its own story to tell, it's own delicate balance 
between subtle instrumentation and insightful and revealing lyrics. It is an album that focuses on belonging and the uneasiness that this traditionally comfortable emotion can evoke.
between subtle instrumentation and insightful and revealing lyrics. It is an album that focuses on belonging and the uneasiness that this traditionally comfortable emotion can evoke.One refreshing point, for me at least, was the complete lack of any afro-beat. It would be all to easy to slip into the Vampire Weekend mould, especially with one member having won a Grammy(!) for his work with the simply stunning Soweto Gospel Choir. This is not to say that South Africa and it's current state are not reflected in the album. Comments such as "We live in fear all the time" are not comments based on terrorism threats, global warming or ridiculous G20 demonstrators pointlessly smashing banks apart. They are very real comments about a country with a high crime rate, where economic crisis takes on a completely new meaning, a county in which corruption and fear bread corruption and fear and where personal security and barbed wire surround every home. South Africa is an awaking experience and one that is touched on often but with such dignity and pride that it is not arresting to the album's mood, or to its progression.
In fact, they draw upon all that is good from their cultural heritage, exploring expansive choirs with great effect, demonstrated perfectly in "The Same". The album is a sublime mish mash of two musical cultures, Caroline MacNeill's simply breathtaking vocals perfectly complement the accompanying african-influenced music with her playful nuances on certain words and a crystal clear voice to warm the soul, allowing her to compete with any Western female singer-songwriter.
It is an album built on sing along choruses, built on everyday experiences and built on one of the most beautiful voices I've ever heard. It is effortless in its complexity, no song drags, seems out of place on the album or takes the mood of the album in a direction it was not already headed. Its attention to detail ensure that each listen reveals a new layer and often a new set of emotions, a new understanding of the themes. It has unbridled imagination, stupendous focus and such heartwarming charm that Dearheart is reigned in from its "runaway single" status to just another crucial piece to the Dear Reader puzzle.
In short, it is the best album I've heard so far in 2009.
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