Music When The Lights Go Out

Lyrics

2012-01-12T15:48:00.000-08:00

I probably don't value lyrics enough on this blog. I love good lyrics - they're poetry with the additional feature of having melody, harmony and rhythm to make them carry extra weight and meaning. I like a lot of instrumental music too, but there's something about a good lyric set to a fitting melody that adds an emotional charge; I don't think lyrics are valued enough generally, in fact.

First, something sombre which I keep returning to.

"I thought that I was full of such hope and light, and such love.
But all my words - I wrote them for you,
and all my songs - I sang them for you.
Photos of me, they all show
a staring man I don't know.

You know that I've been through... all this nonsense with you.
And all my words - I broke them for you,
and all my plans - I snapped them in two.

I could create like it was stealing
I'd love to sing how I was feeling
I had a soul that burned for beauty
but who gives a shit? I must admit,

I've lost it a little bit."

That's the first half of the song. If you've just read those and feel incredulous, I urge you to listen to the song to see how perfect the words are to describe his feeling. Those first lines - "I thought that I was full of such hope and light, and such love" are perfected by their phrasing: he pauses after I, and of, and light, and love - you find yourself thinking of this man, this man the singer thought he was, an optimistic and 'light' man, light so heavy with positive connotations, love the garnish on this wonderful image. But then the 'but' comes. And at first it doesn't make sense. Why does writing his words and singing his songs jeopardise his great character?

The best thing about the song is that he doesn't tell you why. There's just this 'you', this person he broke promises for, abandoned plans for, but we never find out why. I assume total sacrifice, an image barely between the lines, and rejection, but it's left to you to pull your own experience into it, interpret the ambiguities.

My favourite words though are these:

"I could create like it was stealing
I'd love to sing how I was feeling
I had a soul that burned for beauty
but who gives a shit? I must admit,
I've lost it a little bit."

They cut through me every time, partly because the song builds up here, starts to take you into serious emotion with the dynamics and Jamie Lenman's unforgettable voice. This man that the singer describes was someone who could 'create like it was stealing' (great concept anyway), making art so easily, the epitome of youth, who had a 'soul that burned for beauty'. The word 'soul' always means a lot - sometimes it's clichéd - but here I know what he means. That feeling you get when you see something awe-inspiring - when you wake up in a top-floor flat and realise the whole world's out there, when you see someone you love waiting for you before they see you, then catch the recognition in their smile - that's a soul burning for beauty. It desires it, it is damaged and brought to life by it. And this fucker has taken that away from him. The line 'who gives a shit?' makes me hurt every time, because it's so nonchalant, yet so angry. And it doesn't rhyme, so as Lit teachers would say, your attention is drawn to it - he doesn't even care about making the lines flow.

But then it all softens up. "I can't breathe this atmosphere; can't wait till I get out of here." It's over. There's misery, not anger, and then that builds into a climax of perfectly played post-hardcore, ended with 'Cause I have wasted year after year, and smile I may, but it's insincere, my dear', ended with an endearment which is both acerbic and loving. Every breath and yell is conflicted, and the music echoes that and reinforces it perfectly. Good lyrics are like good poetry, but expressive even without analysis, because of the juxtaposition between each word and its backing, or the primal support the music gives to its meaning.

Some of the best lyrics in my music collection are Conor Oberst's, but he's a thirty-year old singer from Omaha, Nebraska who grew up Catholic and then gravitated into mysticism, so the level on which I connect to the sentiments in his tracks is often not the same as with Reuben. I recognise the sentiments and think they're beautifully expressed, but I don't necessarily feel them. (He also goes heavy on the sympathy-inducing stuff, which my British restraint finds slightly uncomfortable.)Still, I smile every time I hear -

"Now every dream gets whittled down just like every fool gets wise;
You will never reap of any seed deprived of sunlight."

and the lyrics to 'Arienette' or 'From a Balance Beam'. In fact, the songs with good lyrics in his back catalogue are hard to choose, because they'd all be revelatory for someone, however navel-gazing they are.

So what makes good lyrics? Well, I think they're less subjective than good music as a whole; when Alex Turner of the Arctic Monkeys does his tongue-twisting and Dylan comes in with a nice bit of bathos, I think it's hard to deny some mastery even if you don't like it. And when Client sing:

"It's everywhere
In everything
Every day I'm not promising
We don't have to be good
Or play by the rules
'Cos we're the same in the things that we do
And I love it in the morning
And I love it in the evening"

I think it'd be hard to deny those lyrics are pretty horrific. Then again, like with poetry, you have to relate to them. For me, I think what primarily makes a good lyric is its observational astuteness (when you think, "Christ that's a real feeling" or "That highlights something I can understand/have experienced") and originality, at least of expression, and how the words are set to the music. That's why I think I like lo-fi so much, because they haven't tampered with the raw emotion of the voice too much. It's also why I dislike it when people never write their own songs - how can they profess to have made an album if they're singing someone else's sentiments? And often those same groups' music was written by someone trying to pen a hit, so there aren't even feelings there initially. What little is contained in the song gets lost in the mix.

When Adele sang 'Make You Feel My Love' and it got all famous a few months ago, I didn't know what to feel. I felt she did well with it, emotionally - it was a powerful rendition, and that's not something I often say about pop. But she'd missed the lyrics' nuances, or else ignored them. Dylan was an angry man. Adele sings sweetly, but inherent in that title is aggression. The verb 'make' should not be sung so softly in that context; it moves from being interpretation into what appears to be ignorance. He is suggesting he will force himself on this woman, make her love him, whatever you want to get from that - it's about as much a love song as Police's 'Every Breath You Take' is a love song. It illustrates how lyrics given music can take on a new character - and also, I suppose, not be as good standing alone.

Anyway, this has been a very long post, so I'll stop writing now. It's been a long and painful evening, not that this is one of those miserable self-examining emo blogs; this post, apologies for the length if you've got here, has served to distract me from myself.

Merry Christmas

2011-12-03T15:46:00.001-08:00

Tidings of comfort and joy this yuletide.

Sonic Youth Split

2011-11-05T12:33:00.000-07:00

Well, there goes seeing one of my favourite bands live. Leading band members Kim Gordon and Thurston Moore married in 1984, and 16 studio albums, countless tours and extensive critical acclaim later, they've broken up, and this probably leaves Sonic Youth unlikely to stay together. Sure, other bands have done it - Quasi, reputedly The White Stripes - but Sonic Youth have recently released an official compilation album, which indicates they might be packing up.

I love Sonic Youth, though their cacophonous early era is a bit too avant garde for mainstream consumption, with huge long tracts of 'arty' white noise. Their hardcore fans proudly proclaim their love for the sub-lo-fi Bad Moon Rising, but I think what Sonic Youth do (or did) best is the subtle melodic interplay on their later albums, Sonic Nurse, Murray Street, and even the 'poppy' Rather Ripped. However, there's just as much merit in the punkier, more grit-driven Dirty and the 1988 album widely recognised as their magnum opus, Daydream Nation.

Moore and Gordon were my second and third favourite members of the band respectively, though the defining members in many ways. My love was always reserved for the songs that Lee Ranaldo wrote. Honey-voiced poet Ranaldo is (was) always given a track or two on each album, and his songs are usually the most memorable and atmospheric. Some of them are haunting, discordant but still mellow, emotionally charged but subtle - it was all in his lyrics, his tone of voice and the harmonies at play behind his vocals. In 'Hoarfrost', below, you can hear winter creeping in through guitars; in 'Karen Koltrane', a tattered love story is gradually revealed, as much through the music as the words. The most harrowing track of those below is 'In the Kingdom #19', which follows the death of a man on a highway, caught in his confusion and yet rich with detailed imagery. Sometimes I hear the words from that track in my mind - "hard shoulder of the motorway"..."My eyes are blinded... I am in the darkness... that's it."

If it is goodbye, then it's farewell to an influential, life-changing band, who may have been overrated for individual albums, but who cannot be overrated for their varied and prolific back catalogue: there is something for almost everyone in there. If it is goodbye after this last Brazilian tour, then I hope they're not forgotten.

The Darker Catalogue

2011-10-19T15:39:00.000-07:00

Winter has fallen. Tonight is due to be this autumn's first night of frost in this part of England; the second blanket is on the bed, the coffee in the grinder for the morning, and it's time to put the darker catalogue onto the iPod playlist.

Whilst 'winter' does appear to be the theme of this post, it is totally coincidental that my favourite track at the moment is called 'If Winter Ends'. Damn Conor Oberst has got me again. I wish he'd stop reminding me that I love navel-gazing lo-fi, because I wasn't aware I was that much of a hipster.

(I'm not, I promise. I don't own a single piece of floral clothing, my hair's its natural colour and I've only seen Pete Doherty live one time. One time!)

Anyway, this post has the late-night intention of showing you how 'emotional' Conor can be, without implicating that I'm sitting here in a puddle of my own tears or anything, which I'm not, because that would be silly. So without further ado, here's the song:

New 405 Offering

2011-08-29T12:18:00.000-07:00

It's been a while, but I have another 405 post up over at that wonderful website; this time, it's a review of Prince Edward Island, who I gave a staunch but not brilliant 7 for a staunch but not brilliant album.

Recently I've been listening to a lot of Canadian Mother Mother's old output. They're a really fantastic band. Even though you know they never do what you expect, you still don't expect what they do. (E.g. in the chorus of 'Legs Away', both the guitar and singer slide from a minor into a major key in a single bar.)

Below is 'Hay Loft', a great track from the catchier end of their repertoire, one with immediacy and punch (others take longer to warm up, but it's all killer, no filler in the end.) The video isn't the official one, because I feel like that doesn't do the song's atmosphere justice.

That's one of their more whimsical songs, taken from the 2008 album O My Heart. I'd recommend listening to 'O My Heart' and 'Wisdom' if you want to hear some variation within that era of Mother Mother. Either way, go and discover a brilliant band before winter creeps up and you have to open up the darker catalogue.

Kaiser Chiefs, Innovators?!

2011-08-11T13:41:00.000-07:00

My band when I was 13 were Kaiser Chiefs. My first gig ever was Kaiser Chiefs at Wolverhampton Civic Hall. Unfortunately, I am not 13 anymore, and therefore do not hear them with such excitement; indeed, the vague attachment to them I still feel is tempered with shame, because of the misery I put friends through with this Ricky quote and that Ricky quote, and because of their abomination of a filler track, 'Tomato in the Rain'.

Mostly, Kaiser Chiefs have not survived the test of time in my record collection because everybody rejects the thing they loved after a violently obsessive phase; it becomes tied to one's past flaws. But also, the lyrics. Four albums in and they seem to have forgotten why songwriters who aren't natural poets use rhyme - because it feels like they've at least tried. Here is a sample of a lyric from this album:

"Bless my heart and everything will be explained
In the diaries especially the latter part
I’ll be a somebody, I found an empty glass today at home
Give me ability turn up the pedal away from his hand"

What?

I may not be impressed by the words, but The Chiefs have at least done something innovative fourth time round: follow the link below, and you can create your own makeshift album from twenty songs they've recorded. But are B-sides B-sides for a reason? Doesn't it take all the craftsmanship out of an album? It's a novel idea, anyway.

Go and hear the tracks.

Bright Eyes @ HMV Institute Birmingham, 8th July 2011

2011-07-13T10:10:00.000-07:00

Okay, it's no secret that I love Bright Eyes. Bright Eyes fans, particularly in America, have a reputation for being hipsters, for posting on forums that Conor Oberst is "sooo cute and fragile". I don't buy into the cute and fragile thing, I think it's a bit of a façade, but there's no doubt that he is a very productive, talented and versatile songwriter.

Last week I spurned the Big 4 at Sonisphere to see Bright Eyes live, on the balcony at the HMV Institute. The band were supported by Jenny and Johnny, a melodic duo who were interesting for several songs, but faded into the background pretty quickly. Bright Eyes came on and the crowd, kind of Bohemian and only sparsely dotted with obligatory drunks, instantly cheered. It was a supportive crowd - through 'Land-Locked Blues', one of the highlights of the evening, there was cheering and intensity at every relevant pause.

They played the above set, with songs from a range of his best albums. However, I've never known how to feel about the emotional content of Bright Eyes lyrics, and by the third or fourth song, I was pretty much decided that I didn't like it. Conor Oberst was a lot more extroverted than I expected, a lot less of a folky, the music heavier. I liked it, but the gentle persona in the singer's lyrics and the almost arrogant persona onstage seemed to contradict one another, and gave the package an aura of falseness.

By the end, though, I had changed my mind. It was one of the first times I've seen a band that really seem to feel their songs live. Conor's miming may be silly sometimes, but there isn't a syllable he sings on autopilot - he's very involved with his songs, and that makes the whole thing really dynamic. At the end, they played 'One For You, One For Me', not one of the best from The People's Key, but incredible live: Conor managed to preach peace and love without sounding like a nu-hippy, and when he hugged that front row, it really felt like he was hugging the whole audience. The artist/audience connection was electric.

If his onstage/offstage personality dichotomy is anything to go by, he is a good actor, but it still felt real. And that's the illusion of live music, live theatre, isn't it? You don't have to be completely honest to make your point.

Musically, they were fantastic, as I knew they would be, and the trumpet really added something, particularly in 'Lover I Don't Have To Love', which is one of my favourite songs. It added a lot of atmosphere, as if the gig needed more.

This was one of the best gigs I've been to in a while, mostly because it was intense and yet full of energy and passion. I may not be into the whole fragility thing that Conor Oberst has going, but I can see that he writes and sings in gold most of the time, and Bright Eyes is one of the best of his brilliant projects, bolstered by fantastic musicians and personalities in the rest of the band.

Desaparecidos

2011-06-18T15:34:00.000-07:00

If you want to know how Conor Oberst feels about politics and all sorts of other Big Questions (which let's face it, you all do...), don't look to Bright Eyes or his solo stuff, because that's mostly love and darkness, and don't look to Monsters of Folk, because that's mostly co-written. Look to Desaparecidos - ten years old now, but recently reformed for a one off show, so I understand. Even their name means 'people who have been disappeared', simply - victims of politically motivated imprisonment or murder.

Oberst is quite versatile, it seems: he's done stuff that others have called 'emo', as well as folk, soul, rock. I'd call Desaparecidos rather raucous punk. Have a video.

Some Old New Music

2011-06-12T06:44:00.000-07:00

Last night, I was listening to my last.fm Recommendations, which are stunningly accurate, and found Vex Red. (Last.fm draws a picture of me so dangerously close to the reality that I hope it's not possible to do that with things like my purchases, or I'll be a sucker for targeted advertising for the rest of my life.)

Vex Red are a hardcore/electronica band from Aldershot. Or should I say, they were. Just before I had my ear properly in music, a whole wave of '-core' suffix bands were around, before the '-core' suffixing got silly ('Christian crunkcore'?! 'Happy hardcore'?!). In their wake surfaced the recent pop-punk scene. My problem with most of it was that it was over-polished and slick, and almost unfalteringly self-pitying. The singers in pop-punk drawl and cry, and it's unlistenable. The sound of that 00s misery is inseparable in my mind from MySpace and eyeliner and pictures of fringed kids with '<3's in their names, taken from above.

Anyway, that's getting off track - basically, I could stomach only a few of those bands, but some revolutionised my listening habits. Reuben are the most notable, because I still love them - instead of the usual slick production and wailing, they were versatile, particularly in the vocals. Vex Red have the same advantage. Although Terry Abbott doesn't quite have Jamie Lenman's voice, they have a raw edge which gives two fingers to the studio gloss of Madina-Lake-type groups.

But yes, they're gone. Like most music, they're yesterday's news, and they only made a couple of albums. Terry Abbott formed another band, Septembre, in 2002, who soon went on hiatus after the bass player was involved in a car crash. Septembre are also pretty awesome. I've made you a nice widget so you can have a listen and see what I mean about this songwriter, who, if it weren't for last.fm, would probably be only a memory, and definitely not one of mine.

Young Knives @ Birmingham Academy 2, 19th May 2011

2011-05-25T16:14:00.000-07:00

It's been ages since I went to a proper gig. Too long. The last concert I went to was Kerry Ellis and Brian May at the Royal Albert Hall, and I was planning to write it up on here, but it was so self-indulgent, I couldn't get complimentary words together. Not that it wasn't well-played, well put together... but it began with an hour of songs from musical theatre (?!), and it was for charity, meaning that the unpaid performers tried to drop their own names in often enough to make up, in self-promotion, for their lack of earning that night. Brian May was legendary, Kerry Ellis was talented, but it all felt a little too glamorous to be a gig. It was a concert.

So, a proper gig. Compared to the ornate ostentatiousness of the Royal Albert Hall, the momentousness of 100 mile motorway drives and £50, this ten pound gig could have been seen as a 'step down', but it really wasn't for me. Opening it were some hipsters from London, dancing around as if to a much bigger audience, but I guess you have to start somewhere. (Perhaps it's wiser to start by publicising your name, but okay.)

Following these were The Neat, a band from Hull who sounded like Sonic Youth in all but their vocals, which were more like Vampire Weekend's caws and calls. It wasn't unpleasant, but repetitive, and oddly out of place opening for Young Knives. When finally they did come on, it was to a small crowd of generally geeky early twenties blokes, all of whom clearly identify with their future selves on stage.

Young Knives were hilarious, as well as captivating in their performance. I found myself maniacally smiling throughout most of the songs, caught by every witty turn of phrase in their lyrics, with their between-song jokes lingering in my memory as they churned out the energetic, angular riffs they're famous for.

Well, I say famous. As Henry said, "Here's our last single 'Love My Name', which we hoped would make us incredibly rich. We thought it could rival the Kings of Leons and Coldplays of this world."

"I want a sports car," House of Lords added.

"Yes, unfortunately we discovered that to get that big, you have to be really boring."

It's true. There was never a dull moment, never dull enough to melt into the background that so many people seem resigned to being part of anyway. The highlight was definitely 'Hot Summer (Weekends and Bleak Days)', partly because they were so chuffed to play it ("this is our favourite song to play, because it reminds us of when we were young. And handsome.") and because we were chuffed to hear it ("thank you. We're glad you like that one. We really need you.")

A good night was had by all, I reckon, even if the new Academy 2 is a bit generic.

New Bright Eyes album

2011-03-17T16:23:00.000-07:00

Whilst I agree with The 405 that the new Bright Eyes album, The People's Key, isn't an instant classic, I disagree with the rest of the review - the lyrics are amazing, and I like the juxtapositioning of their profundity against, essentially, indie pop music. I think it makes depth more palatable - especially if dirges are the usual backdrops for lyrical darkness or intensity.

My favourite track by a mile is 'Approximate Sunlight', at the moment. It's minimalist, interjections of sound and a metronome-beat ticking holding the background together, but the lyrics the masterpiece. It's a social comment, an introspective poem, a song about disillusion and the worn-out incessance of time. I really think Conor Oberst does the meaningful, slow tracks better than ever before these days (listen to Cassadaga's 'Lime Tree' for confirmation, although Fevers and Mirrors still rules OK with 'Arienette'.)

A Couple of Realisations

2011-03-03T11:33:00.001-08:00

I googled J Mascis a few days ago, when I received his new album to review, to see if I could find out a little bit about him. I did: I found his website, which, being a lazy soul, I skim-read without clicking away from the home page. And so I started reviewing. Reviewing blind.

Taken by the eloquence and simple honesty of the album, I had a closer look at his website tonight. Not until I clicked "Bio" did I realise I was reviewing the lead singer of world-reknowned early US indie band Dinosaur Jr., one of those bands of which I know I should have a broader knowledge.

It was one of those moments that proves, rather cruelly, that I listen to critically acclaimed artists differently. Because that inoffensive Americana became a Hell of a lot more interesting the moment I'd read the name 'Dinosaur Jr'. I don't know why: perhaps it's natural to bow to the status, to the greater knowledge of aged critics who have a consensus on a band's brilliance. Perhaps. Or perhaps it's respect for someone who has stayed in the business, a success story. I don't like the idea that my views are affected by fame, because it messes with objectivity, but what can you do except not read Bio pages? And you'd be criticised for that. It's the same with massive bands like Radiohead - how can you listen to that impartially?

Also, incidentally, I walked past John Lydon, AKA Johnny Rotten of the Sex Pistols yesterday in Birmingham. Flanked by two men in black suits, he looked utterly silly in a mustard-ish beige get-up; I looked remiss at his costume before I realised I was staring at the lead singer of a band who have 89 plays in my last.fm library...

It strikes me that the only thing that prevents these stars from being 'real' people, unrecognisable in the street, is that they so often try to attract attention - ridiculous yellow outfit and bodyguards? It seems desperate to me. Not to offend massive Lydon fans; he's just difficult to respect for his clawing to be in the spotlight.

I said to my boyfriend, "We just walked past Johnny Rotten."
Jozef, hardly a fan, replied, "Oh, was that who he was?"

Brett Domino, AKA Rocco La Bête

2011-02-19T16:09:00.001-08:00

I'm sure I could write a much longer article on the brilliance of the Youtube phenomenon Brett Domino, but I think that will inevitably follow the release of his album in March, so I'll leave it until then to discuss such things.

For now, I think you should all read the hilarious interview I did with him around Christmas, found below on The 405, and enjoy the wonders of a pop-parody act that can truly do it all.

Rocco La Bête Interview

Thin Lizzy (R.I.P. Gary Moore)

2011-02-08T15:17:00.000-08:00

Twenty-five years ago, Phil Lynott, the lead singer of hard rock band Thin Lizzy and a proud Irishman (even if he was born in West Bromwich), died. Drink and drugs, the usual story. I can't say I was there from the beginning, I wasn't born. However, I was there from last year, and I have to say, now their ex-guitarist Gary Moore has died too, it seems to be a good time to write something about them. Something for them.

Phil Lynott was not only a great songwriter ('Dancing in the Moonlight', anyone?), he was also a stunningly expressive singer. Thin Lizzy's biggest hit, 'The Boys Are Back in Town', is not the best show of Lynott's mesmerising vocals, but their 13 album back catalogue contains plenty of documentation of his talent. Then the guitarists, of course. Gary Moore, though only with Thin Lizzy in patches, played breathtaking solos which guitarists have aspired to for decades. He died a few days ago from a heart attack in a hotel room, a haunt where so many stars die.

From the BBC4 documentary I saw on the band, they were a shambles, band members leaving and joining, each of them chaotically slipping in and out of consciousness... paralysis... The creative process came irritatingly naturally to them, whether they were shackled by their addictions or not. They were infamously good live, loved for their performances' energy and crowd interaction.

I've selected a few favourite tracks below.

It's a little disconcerting to think that the leading figures of youthful movements like the early hard rock movement are of an age to be dying now. When they were young, it seemed natural that these stars could live forever. A rockstar is not a person, it is an idol and a symbol: the power of revolution, exuberant change, like Che Guevara on a T-shirt. So it hits hard when they start dying. It makes me feel more mortal, and I'm sure it makes the original fans, never natural Saga Radio listeners, feel like their youth is disappearing behind them.

R.I.P. Gary Moore.

What Makes Us Love Stealing Music?

2011-01-22T12:24:00.000-08:00

Walking through a crowd of people a few weeks ago, my friend and I were discussing illegal downloading. "It is a crime!" she cried, far too loudly, and a couple of gatherings of people turned to eye us curiously. "You may not like it, but it's stealing, like going into a shop and taking a CD, but people don't care because there aren't the same consequences."

I nodded despondently. Faced with such an argument, it's very hard to disagree that illegal downloading is a bad thing. And for most of us, it isn't just about consequences: there is a moral framework in place in most of our minds which tells us stealing is wrong, according to principles of property ownership that we live by. So why does downloading music for free not feel particularly wrong?

Maybe it's because it counts to us among the many services that the internet offers: we can read The Guardian online without paying for a hard copy, same with most newspapers; we can watch music on Youtube, so what's the difference between that and having it on our hard drive? It's a blurry line, definitely. Especially when we go on to love the music, to listen to it all the time: we have a feeling of warmth towards the artist, and respect them, which feels like a kind of payment for the albums.

Then there's the idea that most of an artist's money comes from the gigs anyway. I'm sure it's true that they're one of the most profitable sections of a big band's income, but it would be wrong to think that this renders paying for albums and singles obsolete.

Of course, we also see bands like Radiohead distributing digital copies of their albums for free and we think, "see, it can't be that important for artists to get paid for MP3s!" But Radiohead have, as it stands, 259,682,938 plays on Last.fm - they're one of the most listened to bands in the world. The story is not the same for smaller artists.

"But I don't have the money," we whine. Or, "HMV doesn't stock it." "My iTunes is playing up!" "I can't be arsed to go out and get it." "Oh, I'll go and get it next week, after I've sampled it... by downloading it..."

We can all see from the shrinking music sections of what are, traditionally, CD shops, and the vast numbers of torrent and free MP3 sites that music isn't dying, it's just moved. It's not a shrinking business, it's just a failing one: what would happen if a huge free chocolate stall set up shop outside Thornton's? Music is getting freer, easier to access, and that's amazing - but in the end, it might just kill itself, because that band that sell half the number of albums they could have can't afford to make their next album. Reuben are a brilliant example - "dropped by their label 'cause they can't pay it back".

Reuben - 'Return of the Jedi'

"I'd like a job in which I'm able,
To put shoes on my feet, and food on my table,
Those nine-to-fivers, they look pretty stable,
But I get my wages from my record label."

One final aside: someone is benefitting from all this illegal downloading. The illegal downloading sites' owners, who get paid for advertising and some even for subscriptions. So, not only are you 'stealing', as my friend would insist, you're also funding criminals.

It would be great if music, as a source of joy and passion, could be free. But it isn't. And until then, the onus is on us to pay for it, or feel guilty - I think I can predict which one most of us will choose.

Reporting Back on Carl, Belle and Sebastian and Radiohead

2010-11-23T10:56:00.000-08:00

When The 405 originally posted news of Carl Barât's new album and tour dates, following the tumbleweed came the comment, "Who's he?"

Carl Barât was the co-frontman of the influential but sadly disbanded rock band The Libertines. After two chaotically recorded albums and a Hell of a lot of druggery, he went on to front Dirty Pretty Things, whose demise was signalled by arguments and a weak second release well before they ultimately split in late 2008. Recently announced a father-to-be of London singer Edie Langley's baby, Carl Barât released a self-titled album this October.

I have to say, Carl is at his best when playing fast, Django Reinhardt-influenced riffs and snarling into the mic like the Angry Young Man he used to be. This album showcases his softer, piano-lead side. Where Pete Doherty, his recognised other half, succeeded with his gentle poetic lyrics and endearingly idiosyncratic inability to sing, Carl appears lacklustre when he's not attacking a fretboard. The whole album is a little hard to get into, and the lyrics try for archaic and often don't quite hit the mark. Plus, the cover image is the biggest testament to narcissism since... well, The Libertines' 'Narcissist'.

It's not bad though, considering a few years ago, Carl hated going onstage alone. It showcases competent songwriting and some enticing listens, like my favourite 'The Fall' (even if it does contain the lines "upon a sticky nightclub floor, a wilted rose I found, I snatched her from the clutches of an evil-smelling boar"). I don't think I was expecting particular greatness despite being a Carl fan, but I reckon Carl Barât's debut needs a Pete, John or Gary, a Didz or an Anthony, just to take that songwriting and bring it to life.

Belle and Sebastian, songsmiths of the twee pop age, have brought out an album recently too. Write About Love doesn't try for anything pretentious, it's that beautifully melodic, glistening pop that it was predicted to be. Strong like 2006's The Life Pursuit, perfectly produced and intensely listenable, I fell in love with Write About Love on first listen. It has a few more dips in quality than their last album, perhaps, but is just as musically adept: they have really developed their style this last few albums, and it's only got more lovable.

My final comment is probably the most filled with passion. In Rainbows. Yes, I'm incredibly late, don't blame me, I've been busy. Gorgeous chords, ingenious melodies flowing over and under atmospheric vocals, edgy drums, compelling lyrics... Radiohead may have made the news for their innovations in methods of release, but they've also made a brilliant album. There is a reason they're one of the most 'listened to' bands on the planet. Below is an incredibly cool video for 'Bodysnatchers' by Glann Marshall.

Bodysnatchers - Zeno Music Visualiser from Glenn Marshall on Vimeo.

French Music, and Being a Reviewer

2010-11-14T07:19:00.000-08:00

Currently, I have an article up on The 405 which I'm quite proud of:

France - Them and Us in Music

While I recommend heavily that you go and check it out if you like foreign language music, or just to learn a little bit about another culture, it serves to make another point. My responses so far have included:

This is an awesome primer.

and:

Anyway, great article!

Thanks to the commenters for those little rewards, because I have to say, if anyone chooses to comment usually, it's to bash me and my opinions. Now, I've had a couple of fair criticisms in my time, where people haven't agreed with my comparisons to other bands or something. Those I can take, because certain areas of pop and folk aren't my forte, and although I do think I write decent reviews, sometimes they're not the most informed.

However, other times I get "F*x!ing b*%£! this review is s$*t, this is the best f%^!ing band to exist ever, you d*£&head." Now, the last of these examples was for a band called Thread Pulls, who, for all the swearwords in the world, are just a bit shit. It thinks itself all very arty with weird titles and strange echoey synths, but the singer can't sing, the lyrics are crap and there really isn't any reason I'd ever listen to it sober.

That is, as I'd admit, only my opinion. Whatever the fans are hearing between the lines that keeps Thread Pulls in bread and water is beyond me, but I'll admit that I could be missing some point or other. Maybe.

But eh, I'm not underqualified just because I don't like it. If everyone 'qualified' likes it, why isn't there hype for this band? I think it's because they're not all that great. They grate at best. Anyway, music is one of the most difficult of the arts to judge on quality alone: personal preferences always make for subjective reviewing.

So for all the haters out there: remember reviews are just reviews. Everyone knows it's mostly opinion, and unless the reviewer has made some unjust factual claims or slandered the band, swearing at the reviewer will only make you (and by extension, all fans of the band) look pathetic. Going by some daft pseudonym only reinforces this image of you.

It's Been a While; Deer Tick

2010-10-08T09:33:00.000-07:00

Busy all the time at the moment. However, I need to comment on the brilliance of the band Deer Tick. I reviewed their album The Black Dirt Sessions a few months back, and was very positive, and I've since delved into their back catalogue a little. The singer has a gorgeously scratchy, intense voice, which really sets them apart from other American folk/indie bands of the moment.

I'm in love with Deer Tick's lyrics. Recurring religious and regal themes I can take or leave, but sometimes the singer speaks with such elegance and eloquence that the result is irresistible. "Looks like I relied too hard on a dream, so tell me girl, where have you really been?... I built a kingdom on second chances" he growls in 'Piece by Piece and Frame by Frame'. Enticingly simple words that draw a picture, rasped in his husky tones, over well-played indie-ish acoustic guitar or heavy bass...

It's lovely. They are pensive but often upbeat too, and I'm going though a phase of really liking them. Deer Tick: check them out. I've put a few favourites below.

Sonisphere @ Knebworth 2010

2010-08-31T08:04:00.000-07:00

It's been a while since my last post; I've been enjoying the summer for reasons other than music, which is a surprise even to me. Since I last wrote, I've done several musical things, like go to metal fest Sonisphere, get into Bright Eyes, and reboot my dead iTunes.

The most important of those being Sonisphere.

On July 30th, I went to Sonisphere with my boyfriend. If you read any of the posts below, you'll know that metal is not really my favourite genre. I was definitely one of the girlfriends there whose sole purpose was to keep the tent warm - I made myself enjoy it anyway. I only saw a handful of bands: when most of the names are unfamiliar to you, you never quite know where to go.

We caught a few minutes of Gary Numan and Europe on the Friday night, and that was all. For the rest of the time, we explored the campsite and arena. Large numbers of men in tutus and girls in Newrocks wandered the fields, graffiting the much adored 'Pantera' on tents and queuing for portaloos, whose scent defined my weekend.

Alice Cooper was the best on the Friday night. Onto the Saturn Stage he strutted as the sun went down, dressed ridiculously with a myriad of wrinkles criss-crossing his face; he launched into 'School's Out', and the crowd's mixture of amusement and adulation added to the great atmosphere. From there, Alice proceeded to die onstage about five times, kill various hideously made-up humans and sing over his few-chord showman's punk. It was fun, and very tiring.

The first night was soundtracked by random cheers which spread across the campsite like mexican waves, skanky people talking and smoking shit, and the calls and jeers of drunken insomniacs.

On Saturday, we saw Family Force 5 on the Apollo Stage in the morning. They are incredibly scene, described by the term 'Christian Crunkcore' (?) and talking a lot about dancing. And dancing. Wearing lots of leather. That day we also saw Andrew O' Neill in the comedy tent, who definitely topped Tim Minchin, the act he was opening for. Rammstein finished the evening. I've never seen the deal with Rammstein: it's dull to me, repetitive and humourless. I enjoyed the stage show - fire, fire and more fire - but I wasn't particularly bothered when they went off early. A beachball ricocheting off a bald man's head and a mass singalong of 'Du Hast' were my highlights of the set.

On Sunday, my day started badly when my boyfriend's uncle arrived early and had to go back home, meaning we thought we were going to have to get the train home. Not having washed for two days, this seemed a harrowing sentence, so we didn't enjoy the morning. Finally, it was agreed he'd come back in the evening, so we were free to enjoy the empowering reggae metal of Skindred, who were bested only by Alice Cooper's set. Later on, we saw Kylesa, a hard punk band who headlined the Jaegermeister Stage, then Pendulum, and ultimately, Iron Maiden.

All weekend, girls had been baring their breasts to big screens, but it got stupid during Pendulum. There were so many incidents of chest-exposure that even the laddish men in the crowd stopped cheering, and it became a bored expectation of the women on camera. I got pissed off by the misogyny and it ruined Pendulum for me. We went for a wander before Iron Maiden, immersing ourselves in the atmosphere of all the expensive food tents, the legal highs tents, then spending too much on the 10p machines at the amusement arcade.

Iggy Pop was weak. He looked even more decrepit on stage than Alice Cooper had, but unlike Cooper's, the show was without fun, and unless you were in the pit, a mere irritation en route to Iron Maiden. They were also disappointing, for me. Rammstein had burned things. Alice Cooper had died. Iron Maiden didn't do anything fun which a less-metal fan could watch, Bruce Dickinson just talked in clichés before playing the songs, straight.

I think the crowd enjoyed it, though. It's just not my taste. My boyfriend didn't much care for their setlist either however, so we left early and packed up to go home.

And that was Sonisphere. On the journey home, sleeping on Jozef in the car, I had a heavy rock band playing invented songs in my ears, vaguely Metallica, and they didn't go away for days. We were exhausted and disgustingly unwashed, but happy. Very happy. It was my first festival, and I've discovered the charm of a permanent hum of music, overheard comments ("Slayer were amazing. I love my cock."), and nighttime fairgrounds lighting up littered fields.

Renewed Guilty Pleasures

2010-07-14T09:32:00.000-07:00

We all grew up on music that we'd later be ashamed to admit we loved. As a young teen and below, one's music taste is often a ramshackle collection of things your parents like, things heard on the radio, and things Aunties bought you for Christmas that you felt obliged to listen to. The minority of people who still like the music they liked at 11 are either very lucky with their relatives' influences, or have really really awful music taste.

I have my guilty first albums and singles (mostly easy listening, and thankfully no boybands). There has only been one album I've tried and failed to forget since I was 11. This summer, all musical snobbery and shame pushed aside, I found out my For the Love of Him album by Shania Twain, only to discover that is the epitome of good 80s folk-rock.

Unlike the girly country of most Shania Twain albums, For the Love of Him employs heavy guitars and rough edges to achieve a hard-rock sound. Shania Twain's angriest and most powerful vocals ever accompany decent lyrics in perfectly-crafted pop songs. No matter how ashamed I felt when I woke up to them in my mind after years and years, I could never forget 'Bite My Lip' and 'Once Over' - they have possibly the catchiest choruses in my music collection. I tried listening to the album objectively, all prejudices about Shania Twain aside, and the guitars are well-played, the songs well-constructed, the vocals well-sung. There are catchy riffs and quirky sound effects.

So what if For the Love of Him sounds like a parody of the 80s? Shania Twain pretends this album never happened, for the most part: it is her short-lived affair with rock and roll. But it's good stuff.

Just don't blame me if I turn off my last.fm plugin while I'm listening to it. It's a self-respect thing.

Getting into Bright Eyes

2010-05-22T10:03:00.001-07:00

Few artists have music so deeply engrained into their being that they can live their whole lives without being lost for chords. Bright Eyes certainly seems that way, putting out music since he was 13, and still going now, almost 17 years later. His music has ranged from bluesy American folk to hardcore punk-rock, but no matter what he was playing, he never let his guitar gather dust.

I took 2007's Cassadaga out of the library a few months ago and never really got into it. On it was the brilliant 'Hot Knives', and a few other decent tracks, but it was a bit too obvious, polished. Only on listening to 2002 album Lifted or the Story is in the Soil, Keep Your Ear to the Ground have I realised that polish was not all Conor Oberst had to offer.

I'm not a clued-up fan. Ask any one of his thousands of obsessives and you could argue over which is his best project, album, song, lyric. All I know is that 'Lover I Don't Have to Love' took me by the heart the moment I heard it, and the whole albums genuine, open lyrics and sketchy but honest atmosphere are definitely an example of how good Bright Eyes can be. I'll be trying to become that clued-up fan over the next few months, I think.

For When the Sun Comes Out

2010-05-05T03:41:00.000-07:00

Ticking along behind the changing music scenes of the last twenty years, a certain breed of pop group has been working to make every moment sunnier. Belle and Sebastian have perfected their charming breed of 'chamber pop', and fellow Scots Camera Obscura have been right there evolving alongside them.

Here is a Camera Obscura track for your delectation: its bitterness and sadness smoothed over the top of upbeat, offbeat pop - summer incarnate. Listen and love.

Ain't No Substitute for the Blues

2010-03-18T11:27:00.000-07:00

I love a bit of punk and ska, and when I'm in the mood, a little Britpop is a nice change too. Tango and indie pop and possibly a smattering of harder rock are all on the menu from time to time. But there ain't no substitute for the blues.

With my dad's ecletic (and often eccentric) music taste unavoidable while growing up, blues has featured heavily in my upbringing. Eric Clapton and BB King and The Animals have been there all along, on vinyl and CD and cassette. I've always loved the blues, but I've never explored it: it's 'old' music, it's outside of teenage fashion. One of the BBC's documentaries on it the other night inspired me to get out the parents' CDs, surf the web for more, and I'm so glad I did.

There are so many things which can be said about blues. For one, it's incredibly simple. Blues guitarist and singer Albert Collins said that "simple music is the hardest music to play, and blues is simple music." When you hear 12 bar blues, 1st, 4th and 5th chords, being played by the masters, you can't feel disdain - it's just not in the catalogue of emotions available. A beginner on most instruments can mess around with its structure, and the blues scales, but only the best can turn that messing into Blues.

There's something instinctive in it which cannot be captured in any other form of music. Those notes, those chords, that simple discontent (your girl's left you, you ain't got no money, you're leavin' town), they give blues music power and strength that most other music can barely touch upon. Blues can depress you or fire you up, turn you on or enrage you; somehow, it can do everything barely using more than three chords.

John Lee Hooker made this post happen. Listening to The Healer, one of his most famous albums, I feel whole again for the first time since... well, since the last music I really connected to. I may be a middle class white girl, but there's something deeply affecting about listening to the story of someone worse off, in the mouth of a brilliant singer or from the moans of a soulful guitar, hearing the same primal emotions, the same mixed bag of thoughts and feelings that we all have. Blues transcends cultures, while drawing you into its own like nothing else can.

Blues is a healer, all over the world.

Three Artists You Should Listen To

2010-02-25T11:02:00.000-08:00

1. Reuben. Oh come on, do I need to plug them any more than I already do? Explosive guitar riffs, life-defining atmosphere, brilliant lyrics sung brilliantly over brilliant chord changes, expression I could only dream about, muscular power and sensitivity in perfect balance. Just do it. Please.

2. Belle and Sebastian. If you're inclined towards the indie end of pop, twee, light indie, anything like that, then you've probably heard Belle and Sebastian already. They're elusively ubiquitous, managing to tiptoe through the lives of so many, enchanting them, entrancing them, but staying out of the hype machine which rules the music industry. They plaster the summer straight over the top of this long British winter; they are a billboard advertisement for summery cocktails or The Seaside. The wry wit and tongue-in-cheek lyrical edge in many of the tracks counteracts the twee melodies and enhances the charm of the albums. I'd highly recommend them, even in winter.

3. Julian Casablancas. I like his dirty electro, his monotonous growl of a voice, the lyrics which catch the ear, the complex games he plays with the chromatic scale. But most of all, however bad I feel for it, I like his photos.

Jamie Lenman Interview and Update

2010-02-09T10:39:00.000-08:00

Writing for The 405 gave me a viable excuse a few weeks ago to email illustrator, musician, and all round Great Guy Jamie Lenman, lead singer of Reuben. He agreed, and right now, I have 2 items on the home page of The 405, an interview with Jamie and a review of the tUnE-yArDs' new single, Real Live Flesh. My, unnecessary capitalisation pisses me off. It's hard to type, and if they thought it would make the name memorable, they were frankly wrong. I can never remember it. It's a good job the single is worth a listen, really.

My friend brought up an interesting point the other day. Should music criticism be as huge as it is now? Being a voluntary music writer, I tilted an eyebrow and rushed to the defensive guns of "Of course, then how would you ever find out whether music was worth listening to or not?"

But if that was my main argument, I was struggling. To be told what you like and dislike in music is the easy way out, and it's part of the reason why fashions still have their cold fingers laced around the ventricles of the modern music scene. (To reiterate: music isn't good because it sold well in your peergroup, or simply because it's new, and that's what fashion dictates.) Other arguments for music criticism are forced: if there were no reviews, there would still be adverts, the radio, sites like last.fm and Spotify, articles on new music... so you can't say that it is our only gateway to music.

What other arguments are there for music criticism? It's always irritating to hear our favourite artists being slammed by critics who we would usually respect, (or not), especially as every sensible person knows that while there are technical qualities to albums, most of our judgment of music is subjective. Music criticism can make or break careers, and most of it is guided by peer opinions and personal prejudices anyway.

Then again, my best retaliation came with the argument 'there has to be a filter in the music system'. In businesses, there are promotions up for offer, you get increasing salaries and responsibilities and jobs with each step up. You could not impose a system like that on the arts. Criticism, however harsh and demoralising, can give a band the boost it needs to get onto the (albeit unevenly runged) ladder, and then offer educated opinions on what should and could do very well. As long as the reader can identify whatever spin has been put on the article, and can think for themselves, criticism can be the most helpful way to separate the cream from the milk. And the off milk from the good milk...

And of course, everyone wants to do it. Most people who love music have sneaky reviews somewhere in their computer, or in their minds, ready for conversation; many write online, or for magazines. It's a natural urge, putting into words what music makes you feel, think, do.

Music can change lives, and the kinder end of crit acknowledges that.

Have a read of my items on The 405 anyway (or not); I'm really glad the website's taking off. I'm not just spouting spiel when I say it's an exciting thing to be part of, as it's growing so fast, getting so much more professional and organised. If you can get yourself to any of The 405 nights in London, I'm assured they are amazing nights out, and Oliver Primus would appreciate your company!

New Article at The 405

2010-01-24T06:46:00.000-08:00

A few days ago, I had the feature space on The 405 homepage with my rather short article on Crossover Artists. You can read it here, at The 405, or hold on for my most recent review in a couple of weeks. Finally I've got an album worth reviewing, LoneLady's new release Nerve Up, so that will be going up at some point. Hopefully, I'm starting my Guide To: Sonic Youth once I've given Confusion is Sex and Experimental Jet Set, Trash & No Star proper listens, and read the biography.

I'm shameful to announce that I do not have any more gigs booked at all. I've been waiting for The Strokes/Carl Barât/Belle & Sebastian/Sonic Youth to tour Britain for a long time, but I've been unlucky, it seems.

The Libertines' fanblog 'Breck Road Lovers' seems to have gone dead since Christmas. I hope the woman who runs it is okay, and coming back soon: she fueled my obsessive following of Carl & Pete with daily titbits for about a year, and it would be a shame to lose that reliable and eclectic news source.

My Favourite Releases This Decade

2009-12-25T14:15:00.000-08:00

I haven't really had time to consider whether these are my definitive favourites of the decade - turns out being busy doesn't rest at Christmas. However, these are the very favourite releases I came up with, the ones that have weathered best over time in my CD collection.

The Libertines - The Libertines (2004)

I have often said that Up the Bracket (2002) was the better Libertines album. I still agree with myself there, because it shows the Libertines for all the potential they had, all the pace and energy and raw talent they had as young men, where the eponymous second album is more a window to the fractured romance and the imminent collapse of the band. For all that, there is something lasting, something honest and original about The Libertines. While the chords are recycled from 60s beat pop and later punk, the words are decidedly more intelligent than much of the pointless punk-rock released in the early 00s. Amidst many others, wry references to Oscar Wilde's Dorian Gray, old classic comedy series The Likely Lads and Rudyard Kipling novels, show The Libertines' very British heritage, and literary intelligence. Opener 'Can't Stand Me Now' is one of the most hailed and beloved post-punk gems of this decade, tearing open and bearing to the world the tethered hearts of frontmen Pete Doherty and Carl Barât. Their tale is not only perfect fanfiction material, but also much more serious, warning of the dangers of hard drugs and the risks of a friendship as frenzied and intense as theirs was. The Libertines tells the final chapter of the story so perfectly, it just cannot be ignored. Aside from being a romantic historical record, The Libertines is more importantly a collection of really good punk rock songs, with the stylish guitar playing of Carl Barât, the unusual voice of Peter Doherty and the skilled and powerful rhythm section of John Hassall and Gary Powell forcing the music along. This is an album to be young to, no excuses, and one I have sought solace and escape in for many years.

Sonic Youth - Sonic Nurse (2004)

2004 looks to have been a good year for music. 20 years into their career, Sonic Youth were still releasing amazing albums. Sonic Nurse is one of their most atmospheric releases, though all their albums have an atmosphere of their own. The artwork of Sonic Nurse sums up the atmosphere very well - warm and dark, ambiguous and slightly disturbing. 'Pattern Recognition' is textured and intense, with Sonic Youth's traditional noise guitar in the background. The feel changes at track two though, with a much more mellow and rich sound coming through, lyrics considered and melancholy. The threat of an explosion of Sonic Noise never leaves though, with gently pounding guitar and drums insistent throughout the album, briefly losing control in shrieky 'Kim Gordon and the Arthur Doyle Hand Cream', and then coming to beautiful and unsettling fruition in the not-to-be-listened-to-late-at-night thriller 'Paper Cup Exit'. Throughout the album, the listener feels as if they are caught in some perfect balance, which could be tipped at any point, as brittle as it is expansive and all-consuming. This mood could be created by the very rich timbre of the guitars, the threatening lyrics or the precise use of silences and dynamics. Whatever it is, I chose Sonic Nurse over excellent predecessor Murray Street (2002) and more radio-friendly but brilliant follow-up Rather Ripped (2006) because I can get lost in Sonic Nurse and never find anything I'd want to change, or skip, and the atmosphere is so wonderfully crafted.

Babyshambles - The Blinding EP (2006)

Every track on The Blinding is... blinding, if that is excusable. The lo-fi rambling and ranting that makes up endearing first album Down in Albion (2005) is nowhere to be seen on the EP that followed, being replaced by eclectic and polished indie delights. Every track is worth mentioning. Sexually charged 'The Blinding' is probably about heroin, and it's power to make you 'happier than you've ever been'. The song's angry but captivating chords can only be played loud; the sultry bassline teases you, walking you gradually but decisively to the police car of the chorus: there the chords are more subdued, worried, as the questions come into the lyrics. "What will you do if she runs out of time for you?" But no! You run and escape, with a scream and a guitar solo that sounds like scrapyard metal being torn through rust, but tunefully. And so the cycle repeats, straight into the unexpected richness and tenderness of 'Love You But You're Green'. The lyrics are wonderful, talking of angered imaginary lovers in a fuzzy past. 'I Wish' changes the mood again, the ska-reggae impossibly bouncy and summery, boasting the fabulous, stubborn Pete Doherty line "It's not the same old story. It's new to me." which is, despite protestations, a very good point. 'I Wish' openly admits to the writer's smoking crack, his empty wallet, his lacklustre approach to life on drugs. But it's unbelievably happy with it, and summery because of the offbeat major chords. 'Beg, Steal or Borrow' is like a preview of the second Babyshambles album, but still has its place on The Blinding, upbeat and uplifting, yet with a melancholy tint to the lyrics. Finally: ah, 'Sedative'. From start to finish, 'Sedative' is a work of art, the chords perfectly rounded, the voice perfectly off-key, the tempo ideal, the gently undulating guitar an escape I could only have dreamt of before hearing this song. I've gone on too much about this EP. You get it.

Blur - Think Tank (2004)

The last album Blur recorded together, I have probably summarised Think Tank pretty well in my Rough Guide to Blur at The 405 (plug plug), so I shall try and explain why I chose it as one of my favourite releases of the decade instead. This album manages to be summery and uplifting as well as sad, in almost every song. That juxtaposition of emotions seems to be what I look for in music: I like it when you can rise above being miserable and look in on it, escape it, rather than wallowing in it, which is what typically sadder music offers. Think Tank is definitely about more than introspection though. 'Crazy Beat' is a crazy beast, a dancefloor filler and a rocker. 'We've Got a File On You' is an unexpected bit of shouting to wake you up, 'Brothers and Sisters' a quirky, sultry commentary on the State of Things, and several of Blur's best beautiful tender love songs are on this album. Maybe I love Think Tank because it never fails to make me feel like the sun's shining.

I can see that's a very mainstream top 4. The Libertines are generally regarded as a typical knocking-on-the-door-of-twenty-year-old's favourite band, Blur sell to adoring millions all over the world, Sonic Youth have their lower portions firmly on the thrones of revolutionary rock royalty, and Babyshambles are famous for dubious Dohertian reasons. The point is, these bands are big because they deserve it. There are plenty big bands who don't: I'm not plugging Coldplay or U2. I genuinely believe that these are amazing albums, and I'm not giving my decade's favourites to some little band just because no-one's heard it, so no-one can argue. No, these albums are fantastic, if a little quieter than I expected my favourites to be, on average.

Babyshambles @ Birmingham Academy, 19/12/09

2009-12-20T04:37:00.000-08:00

If I was expecting some kind of Christmas theme (and I was), then the only Christmassy thing about yesterday night was the freezing cold. Despite this, the queue was twenty strong half way through the afternoon, but I chose not to join it because I wanted to be able to move by the time it came to go into the gig...

Amidst a few Santa hats and a lot of good cheer in the crowd, the first band on were The Scuzzies: a bad band name for a bad band. Four chords, strung together under a pair of average voices, in the typical way of indie punk at the moment, and perhaps always. Not impressed. The second support was a band called Gaoler's Daughter, which features 'ex-members of Larrikin Love, Littl'ans, No Picasso and Letters From London', and so makes up a collective of faces you know-you-ought-to-remember-but-don't. They were much better than the first band, with some juicy chords and interesting rhythms. They released an album recently, and it sounds like it might be quite good.

Babyshambles took their time, the crowd doing what they always do given a late Babyshambles arrival: asking fraught unanswerable questions. "Is he here? How much longer? Is he still on the drugs?" When they did come out, Pete seemed compos mentis, and it seemed they had a much better time than in March. The review I gave the 25th March Peter Doherty solo gig was mainly a review on the drunken masses in the crowd, but last night there were no such problems where I was standing, middle back. Everyone enjoyed themselves and sang along.

Edit this setlist | More Babyshambles setlists

The highlights for me were: Stranger in my Own Skin, a new one previewed on Pete Doherty's Youtube channel which the crowd responded well to; Pipedown, with grittiness and bitterness and loud, angry chords enough to fill the decade; I Wish, because the crowd ordered it with their familiar shouting of the riff, and then it was played with great crowd participation (of course); Albion, because Peter knew almost every suburb and town outside Birmingham and listed them, to the crowd's immense appreciation, and finally, the glorious Fuck Forever, still played with all the anthemic soul which defined it in 2005.

Sedative was a let-down live, being one of my favourite Shambles songs and a beautiful little masterpiece all round. It lost some of its warmth and tenderness live, and the harmonica didn't work, I thought. That was the only song I was disappointed by, and the whole gig was just so much better than Peter Doherty in March. I think everyone on stage had a better time too, and they were decidedly not a shambles, to add to the overuse of the bad pun. It ended on curfew at ten (Babyshambles being so hardcore they don't conform to non-conformity), and the crowd poured out of the new Academy to snow.

Merry Christmas and a Happy New Year all round - thus ends my first year of music blogging.

8/10

Christmas: the Death of Music

2009-12-13T14:40:00.000-08:00

Why do Christmas songs have to be cheesy and bad? There's no law about it, surely? And why can't we play new Christmas music every year, like we do all the rest of the year round? Yet again this year we're dreaming of a white Christmas, having a merry little Christmas, and Lord save us all, rockin' around the Christmas tree. The more traditional of us are dinging and donging merrily on high, decking the halls with boughs of holly, and coming a-wassailing (what even is that? I can't be bothered to Google it, or watch the Christmas special of QI).

Why? Just...why?

Having said that, Christmas number one is reserved for winners of The X Factor only, a new kind (and level) of cruelty that isn't even about Jesus. Maybe the many Facebook groups will persuade the General Public to buy the Rage Against the Machine track instead of the Leona Alexandra Jackson-Ward single, but still, the monopoly of crap will still own the charts that week.

Nevertheless, I'm not going to deny that Christmas wouldn't be Christmas without crooners singing old tunes on Radio 1. It's the charm of it, the heart-warming mindlessness of the repetition. It's cheerful, and communal, and comfortable.

Now listen to a screamo parody and shake yourself free of all that nostalgia.

Edit: Website The 405 have agreed with me on this one, and put together a playlist of 100 indie Christmas songs for your dilectation, so to avoid bleeding ears this cheery season (or lose respect for all your favourite artists), go and check that article out.

The Cribs @ Birmingham Academy, 2/12/09

2009-12-04T11:26:00.000-08:00

The New Academy opened its doors just a few months ago, and this is the first gig I've been to there. It's further out of Birmingham's centre, and the underpass you have to go through to get to it from town would be a pretty scary place to spend any amount of time. Across the road is a shop with juxtapositional 'Kwality' in the name, and an Adult Shop - all a little intimidating. The Dome is a building of strange architecture, the main entrance overhung by the upper floors, but the door to the usual venue out along one side of the building, looking more like a side entrance. The building itself on the outside is brown, dirty enough to rival the old Academy, and it came pre-adorned with lumps of chewing gum and damp drippy patches under each window.

Inside it's a different story - they have decorated it and arranged it in a similar way to the other Academy, only the balconies are seated now and it's much cleaner and more plush inside. All in all, despite the rather exposed and scuzzy outside for queueing, which wasn't much better at the old venue, this Academy gets the seal of approval.

The first band on at The Cribs was a three-piece punk/indie band called Sky Larkin. They were charming, the female frontperson with stage presence and real talent, for singing and the guitar, although she missed a few notes vocally here and there. She was definitely in it for the music, confused wolf whistlers eyeing up the female roadie and then realising she was in the band. I like that, there's everything right with it, but I liked their music even more - angular, punky but thoughtful rock music. A lot of good noise for three people too, and the drummer was fabulous to watch for the funny faces. The second band on were the much-hyped Los Campesinos!, who had about eight band members on stage at once, give or take an instrumentalist. They had a violinist, an unusual feature, and a flotist-keyboard player. If only they had someone who could properly sing. It was all trying a little too hard, though the sounds they made were quite nice, like a cross between something left-field indie with Hadouken!

The Cribs came on at about twenty to ten. They opened with The Wrong Way to Be, often a closer, but good to hear either way. Ryan asked the crowd if they were 'old-school fans', and then rather sarcastically asked what we counted as old school, third album or before? Obviously the crowd didn't like that, and all cheered for album number one, whether they knew it or not.

The whole evening was a Wichita party, with all three bands signed to the indie label that nudged The Cribs into the limelight, and Gary proclaiming "Fuck the meehjurs" half way through the gig. The Cribs played a very good set, and Tweeted later that 132 people had gone over the barrier in that gig, crowdsurfers or otherwise. (Ryan's asking-fer-it "where have all the crowdsurfers gone?" obviously sparked some ideas in slightly drunk lads' heads.)

Anyway, the set lasted just over an hour, containing highlights of the slower B-side Get Your Hands Out of My Grave, one I never thought I'd see live, and I actually worked out the words, Be Safe with Lee Ranaldo on the projection screen which will never fail to entertain me, City of Bugs because it was at the end and the twins did the extremely appealing "ramming the guitars up the amps" thing for our dilectation. Other songs in the set were Another Number, Direction, Cheat on Me, We Were Aborted, Hari Kari, Emasculate Me, Ignore the Ignorant, Save Your Secrets, Nothing, Our Bovine Public, Men's Needs, I'm a Realist, Hey Scenesters! and Mirror Kissers.

Very good, but because I was pushed further and further to the right of the barrier (my fault for where I stood) and because there seemed to be energy lacking in the performance (don't know why), it wasn't as good as the Leamington Spa gig in October.

7/10

R.I.P. Reuben

2009-11-23T13:37:00.000-08:00

Exploration of Biffy Clyro's similar artists on the wonderful last.fm (now sponsoring a 405 event or two, hurrah) a few years ago lead me to Reuben, a band of young members with much talent, and the antithesis of summery indie pop.

Recently, as usual just a few months after they split up, I've really been getting into them: they're very angry, but in a focussed, intelligent way, unlike many screamo bands who seem to be angry without a purpose.

Reuben's purpose is usually singer Jamie Lenman's girlfriends, it appears, and during making the last album, their third effort In Nothing We Trust, there was clearly a severe lack of irritating exes, because the lyrics lose their love and break-up emphasis, and to be honest some of their charm. Still, I like the album - it's more anthemic, more singalong and varied, and spawned the beautiful 'Good Luck' and 'A Short History of Nearly Everything', which can only be described as life-affirming.

The second album has been my favourite at the moment, along with their most recent release of all their B-sides and re-records, We Should Have Gone To University. All Reuben releases have on them Jamie's fantastic voice, which can pretty much do anything he wants it to, from tender whispers to huge screaming passages. The lyrics, despite being all 'emotional', are poetry to say the least, even when they're having a go at someone. The guitars, backing vocals and drums never miss brilliance either, and have a distinctive sound which encapsulates Reuben.

This is a post to say: please check this band out - even though I'm generally a punk and indie gal, if that's even a genre, a bit of modern rock in the form of Reuben tickles my fancy, simply because they're just so good. R.I.P. Reuben, and I, for once, hope you do the band sell-out thing of getting back together to tour the world, just for me.

Kasabian @ Birmingham NIA, 19/11/09

2009-11-20T16:01:00.000-08:00

What could you expect of a Kasabian gig? I'd have said last week, lighters aloft singalongs, a sprinkling of girls at the barrier Serge-side and a Hell of a lot of testosterone.

I wasn't wrong. The crowd was extremely male, but I stayed out of the crowd of stags at the front anyway, at least when Kasabian came on. Supporting them were Reverend and the Makers, of 'Heavyweight Champion of the World' fame. I like the Rev, but he was full of male bravado and his keyboard player (and wife, I believe?) was gyrating and wiggling around in a roll-eyes-provoking manner. They were okay, but it was all a bit chauvinist and repetitive, despite the Reverend's nice opinions on war and politics (see Love Music Hate Racism and Instigate Debate).

Kasabian put on a proper show, even before they set foot on stage. On big screens either side of the stage, disturbing stories of lunatics (from album West Ryder Pauper Lunatic Asylum) were played, and then a siren rang out, accompanied by a pulsating red light above the stage. All the roadies wore white coats reading 'SANE', so it was quite eerie when a man wearing a 'WEST RYDER' stamped coat wandered on, swinging an incense burner, before a countdown to the show. It was all very atmospheric.

From the back of the standing area, the music was the perfect volume to get under your skin, the bass sending sound vibrations through your feet, but no destruction of your eardrums (usually my favourite part of a gig, but it was nice to end without ringing ears for once.) The show was a real show, lighters aloft during The Doberman, a proper set behind the band, and massive confetti showers at the end. Never have I seen so many butch men dancing.

They played all the hits, though setlist.fm doesn't have the list of what they played yet. There was a while in the middle where they were playing 'bar songs', a little flood of bored people going to get beer, but that was possibly the only flat part of the evening, with everyone streaming out of the gig at the end singing the L.S.F. riff at full volume through Birmingham.

'COMFORT THE DISTURBED. DISTURB THE COMFORTED'

8/10

Franz Ferdinand @ Wolverhampton Civic Hall, 19/10/09

2009-10-25T08:28:00.000-07:00

Growing up in the Midlands, if I spend any amount of time in a local town at all, I leave disappointed. The Midlands is the county of litter, obesity and unemployment. Wolverhampton, however, has escaped the fate of being Just Another Horrible Image in my Youth through its three popular music venues: The Civic Hall, The Wulfrun Hall and The Little Civic (RIP, you were one of my favourites.) Last Monday saw another great gig at The Civic Hall - Franz Ferdinand.

The band spent time before the gig wandering round Wolves, being stalked by my mildly obsessive friend, and airing the bands' families. Doors opened at 7, and support came on at about 8. Music Go Music, they were called - a band name considerably worse than their music. They launched into a revamp of the classical classic 'In the Hall of the Mountain King' by Grieg (a song which soundtracked my two-year-old nightmares, and is more commonly known as 'that Alton Towers music'.) Everyone wanted to know more by then, hyped up by amusement, and a stick-thin female singer appeared onstage. Their next few tracks were well-played, well-sung, up-tempo pop tunes, with a rock edge. It was retro, but with a modern edge: I liked it very much, though it got a little samey throughout.

I did like the moment when someone shouted something undoubtedly sexist from the crowd, more than a pet peeve of mine, and the lead singer, apparently called 'Gala Bell', said "I'm sorry, what was that?", and another man called "You don't wanna know." Thumbs up, whoever you were.

Anyway, Franz Ferdinand only have one support it seems, so the band we were waiting for was on at about five past nine, playing a visual, energetic set, with covers and past B-sides, until ten. They went through their very entertaining art-school moves, even after all these years seeming to be enjoying themselves more than the crowd. The encore was quite long, started with Paul the drummer slinging his shirt off like a man possessed, the band finishing their onstage glasses of wine, and Alex giving the crowd even more sultry eyes than usual, through his new fringe.

Here's what they played:

Don't ask me what The Scottish Song was. I have no idea.

Again, a great gig, though I got a little bored during the last two songs. Despite their brilliance, both of the extended endings went on a little long - one of the two tracks would have been better. The throwing of the drumsticks was a ritual made more fun though - Alex leaned forward and threw it to my friend, who he knew is an Excitable Fan, but she didn't get it; on seeing this, he threw the second one specifically at her too, which she did get. He has her hooked for life now, no escape.

Because of my friend, we hung around for a while afterwards, but they'd apparently left the moment the gig had finished, so there was no meeting them. I just wanted to get home at that point though, despite how much fun I'd had in the gig. Singing along to Franz turbo riffs is tiring work, especially when they stick 'Ulysses', 'Bite Hard' and 'Michael' one after the other.

8/10

The Cribs @ Leamington Spa Assembly, 8/10/09

2009-10-11T05:02:00.000-07:00

Selling signed vinyls and limited edition CDs before a gig is such a Cribs thing to do. Every step of the way, the Cribs have been a live band in touch with what their fans want - amps turned 'up to 11', good music and lots and lots of memorabilia. I got myself a signed CD and a Cribs shirt, and then nestled into the young crowd at the front, taking in the awesome OTT decoration of The Assembly at Leamington Spa - golden orgies of cherubs against massive blue walls next to classical balustrades and art deco stained-glass windows. A very atmospheric and original venue to say the least, although impossible to get out of due to millions of flights of stairs.

The first band on were the Cribs' compatriots and friends Shrag. I liked them - they really did resemble Comet Gain - but the female singers had broken glass voices which began to get on the nerves after few songs. The music behind them was repetitive but enjoyable pop-noise. If that makes any sense at all.

Adam Green was next. What a riot. Whatever Adam Green was on, be it ecstasy, red bull or just life, it made him manic, running about and dancing, and therefore impossible to photograph. He came into the crowd... five times? And each time he threw himself in and got carried so far back that no more arms were available to carry him. The music was better than I'd expected - lots of guitar noise, super-speed drumming and hilarious lyrics. Adam Green. Perfect support, he got us all laughing and clapping along, and dedicated Superstar Blues to Queen Victoria.

The Cribs. Kate Nash watched from the sidelines, and the supports were lured out to the sides to join her as the noise started up. They played a selection from all of their albums, although the two most recent had the most focus. Setlist:

The highlights of the night for me were: Hey Scenesters! because it's always a mass sing-along, mass bop-along track; Another Number for the most singable riff in history, and the fact that it's such a classic, not a person in the venue wasn't soaring on its simplicity by the end; Be Safe because Lee Ranaldo of Sonic Youth was speaking his wonderful monologue on a projection on the back wall, and because it's Be Safe; and City of Bugs, the final song, which ended in a cacophony of noise with all four members of the Cribs doing something detrimental to their instruments, and Adam Green dancing at the side.

Great gig - it's a shame that Cribs don't do encores but that's the way it is. Nice venue, good crowd, wonderful music. It's the best way to spend an evening.

9/10

Article on Album Art and Other News

2009-09-30T13:49:00.000-07:00

I've done a short article slash synopsis on the relevance of album art, on The 405. I was quite proud of it, although I appear to have constructive criticism already...onwards and upwards I suppose. I can only get better.

(Or worse. But shush.)

Now, onto music. The Cribs have a favourite band, namely Comet Gain, and as a devoted Cribs fan who usually respects their musical opinion, I searched them out. I realised Cribs are extremely like them - more similar than 'influenced'.

Listen to these two, even only for a little while, and play spot the difference. Well, they're not that alike, but there are very clear similarities. They both start with one of those repetitive rhythmic guitar intro riffs, and then the lyrics come in - simple and based around the naïve concept of innocent platonic love. They both totter along to about 3/4 of the way through with simple chorus/verse structure, pretty but loose vocal harmonies, and come to a mildly sketchy but contrasting section, which peters out to an ending with lots of echo and feedback, fading out.

See what I mean? Either way, it's irrelevant, I like them both. Though not specifically those songs: try I Close My Eyes To Think of God by Comet Gain (which is not Goddy) and compare with We Share the Same Skies by The Cribs. Not as similar, but both better tracks.

'Ignore the Ignorant', The Cribs

2009-09-19T08:06:00.000-07:00

I've been waiting on this review, because the general feeling about this album and my opinion were so entirely different when it first came out. The general feeling was disappointment. I was wondering if I was overrating the album, because I'd met The Cribs a few days before.

After a fortnight, I don't think I was. This album is a great one, sounding maturer than The Cribs' three previous albums, with Johnny's guitar adding a new, more practised layer to the music, which also gives Ignore the Ignorant longevity in the CD player.

After catchy opener, but possible weak point, 'Cheat On Me', Ignore the Ignorant only gets better. 'We Were Aborted' is a more political track, the lyrics a real step forward from albums before, and Johnny's guitar adding interest. How anyone can say that Johnny's guitar stifles proceedings, I don't understand, because Ryan Jarman's raw guitar style still shines despite the addition of a glossier, more precise guitar. In fact, I think the two sounds complement each other better than most bands' guitars do, sharing and harmonising rather than squabbling for space in the mix.

I heard the word 'filler' being thrown around with this album. I wouldn't class any of the album as filler - every track has its moments, and its place on the album. My favourites include 'Emasculate Me', a track in which the sudden chorus and powerful but unusual lyrics combine for something nearing perfection, 'Save Your Secrets', a very tender and harmony-based song which comes as a welcome burst of calm, and the very Sonic Youth influenced 'City of Bugs', packed with noise and intense sound, carried by Ryan's sing-song voice and abstract lyrics.

The third track is possibly my favourite: 'We Share the Same Skies' reminds a little of earlier EP B-side 'Kind Words From The Broken-Hearted', supported by a wonderful opening riff, the sound of synthesised organ (which goes so well in contrast with rock guitars) and a soaring chorus.

Maybe there are fans too indie for the indie - fans who don't like the idea of famous Marr's inclusion, and so search for bad points. He hasn't made them sound like The Smiths. Maybe that's me being cynical about their cynicism. Whatever it is, I think The Cribs grown up lyrically, musically and emotionally, and the transition has been great. Getting better with age.

8/10

The Cribs @ Kerrang! Radio, 3/09/09

2009-09-03T14:40:00.000-07:00

2 years. I've been waiting to see The Cribs, manic indie-punk Yorkshiremen, for 2 years. They've always evaded me, somehow; my first Cribs experience was definitely worth the wait.

At just past 1 o' clock, 50 people were gathered in Kerrang! Radio's Birmingham studio, having won a competition (we had to guess what song was played backwards, and it was, as it always is, Men's Needs.) 'Johnny Marrman and the Jarmans' took to the tiny tiny stage to a wave of cheers from a mixed crowd - some of us were Cribs fans, and others generic competition winners.

The setlist was short and sweet. The brothers Jarman and their esteemed colleague kicked off with excellent We Were Aborted, the first song they ever wrote together. The second song was We Share The Same Skies, a rather tender track (for the Jarmans) with added Marr twinkle. Hari Kari was next, another faster number, and then City Of Bugs, a track with lots of distortion that sounds a little like Be Safe from the third album Men's Needs, Women's Needs Whatever (2007), minus Lee Ranaldo (of Sonic Youth, who guested on Be Safe). Finally, they ended with current single, and probably weakest track, Cheat On Me.

The playing was a Hell of a lot less shambolic than I expected; I think Johnny keeps the band together musically, and adds depth and shine that covers up the Jarmans' sometimes messy playing styles. The atmosphere was unusual with there being only 50 people, but not bad. The band spoke a few times, once to say they'd been out in Birmingham the night before, so it was 'too early' for them, and once to sardonically say we'd probably all illegally downloaded these 'unheard tracks' anyway.

Afterwards, they signed and chatted and took photographs with friendliness. Ross was talkative, Johnny Marr was highly sought after for signatures, and the twins differed considerably in the strength of their handshakes. I asked Johnny "Do you sign things you weren't on", producing The Cribs album, to which he replied "Yeah, if it's good I'll sign it. The Beatles, Nirvana...". Gary (looking tanned and a little exceptional) mentioned my Sonic Youth shirt, at which I remarked I loved Lee on Be Safe. Ryan signed The Cribs and told me it was 'well old school', and then I got the photo below. Very very nice day.

9/10

10 songs I love right now (8) - 28/08/09

2009-08-29T05:18:00.000-07:00

Belle and Sebastian - Act of the Apostle II

The sound of the summer. Along with Song for Sunshine, this song has taken the credit for all the happiness recently. With wonderfully sardonic self-critical lyrics, it bounces along with upbeat piano chords and gentle dual vocals, until the original tune of Act of the Apostle returns, seamlessly, and the softness of edgy melancholy returns. Very pretty, but multi-layered.

Helsinki - Cheer Up Goth Kid

The title of this song is quite ironic, with this being one of the most emotionally tense and 'black' tracks Drew McConnell has ever aired. Surprisingly Biffy Clyro-esque in lots of ways (instrumentation, vocal layering, dynamics, the 'aaaaaah' section towards the end), Cheer Up Goth Kid sums up an emotion perfectly, I think. When he sings "December", I actually feel for him, deeply. Ask me if you want this track, I can send it, I know it's pretty rare.

Louise Attaque - J't'emmène au vent

This French song came to my attention via a Helsinki live cover, and it's very upbeat and lively. The lyrics are charming but uninspiring end-of-relationship lyrics when translated from French, but it's the fun folk-rock backing with fiddles, and the novelty of the strong French voice, which make this song great for me.

Reuben - Stealing Is Easy

From the new rarities album We Should Have Gone To University, Stealing is Easy has soundtracked a difficult little patch of my existence with its unsympathetic-yet-empathetic lyrics and loud guitar parts. Thanks Reuben.

Sonic Youth - Shadow of a Doubt

I am glad Kim Gordon is in Sonic Youth for this track alone. Usually, her breathy vocals and simple lyrics seem to add nothing to records, but on EVOL, she stands out more, and with better results. This track in particular is made superbly atmospheric and unusual by her sighs and whispers and yelps, and the simplicity of the lyrics describing the strange scene on a train. I love it - percussive sounds and an oriental edge perfect what is already very enthralling.

Belle and Sebastian - We Are the Sleepyheads

We Are the Sleepyheads encapsulates what Belle and Sebastian do so well: put melancholy and bitter lyrics over upbeat and uplifting music. Because of the relentless guitar strumming and cheery rhythms and harmonies, the line "We've been in this town so long we may as well be dead" actually brings a smile to the face. You can think 'so true!' without it bringing you down.

Amy Winehouse - Me & Mr. Jones

I wasn't impressed with this track when the album Back to Black came out, but I've come to realise it's a good song. It showcases Amy's voice and her talent as a songwriter: it's angry, witty, sarcastic and flirtatious all at the same time. Like a strong woman - like Amy Winehouse minus media image.

The Libertines - Dilly Boys

If you don't particularly like the idea of Pete Doherty dressed as a rent boy ("hands on hips, pout on lips") then don't worry, this song has much more to offer. An uplifting chorus that has you smiling along, and then a soft, tender bit at the end, and rather poetic lyrics in the verses which withstand some, if not too much, thinking about.

Reuben - Ways of Staying Pure

Opening with Jamie Lenman's terrific voice singing, rather sexily, "Yesterday was quite a day, and I've been a bad boy", this song is killer, no filler, all the way through. As if I'm not hooked in already, it's packed with loud/quiet sections, a 'big' guitar sound, brittle yet rich harmonies and a wonderful gentle part past half way through with a round of "Oh-ooh-oh-ooh" and then screaming! Excellent! For similar brilliance (with more 'emo' tendencies, however), see Words From Reuben.

Bright Eyes - Coat Check Dream Song

I'm not as impressed by Bright Eyes as I'm told I should be, but I like this track. More atmospheric and more enticingly sung, it is my favourite on the album, and also the most experimental (less Bob Dylan copying, in other words.).

New Reuben Review at The 405

2009-08-25T03:26:00.000-07:00

I have officially posted my first ever 9 out of 10 on The 405. Reuben's new album, a B-sides and rarities release, is definitely the best album I've ever got for free! I made my love clear here at The 405.

Other Language Music

2009-08-23T05:37:00.000-07:00

I don't listen to a huge amount of overseas music, mainly because I only speak other languages poorly, but I do have recommendations if you feel like branching out.

The first is a band gained from my mother, a German punk band called Ton Steine Scherben. Their message was decidedly anti-establishment, and if you speak German or fancy a day on Google translator, you can hear a million and one topical references of the time. I haven't translated every song, but I still enjoy them for their punk energy and the different sound of German vocals.

The Tropicália movement stands out next. Originating in South America, it was a 1960s Latin/Rock fusion movement, as well as an Art movement, again very against the dictatorial governments of the time. It's exciting because it was so disallowed, so new and fresh. Virtuoso musicians play Beatles-and-Stones-esque rock over Latin beats, with some really poetic Portugese lyrics (they even sound poetic.) Probably my favourite of the artists is Caetano Veloso: his music just stands out to me as the best, and he also sings in English from time to time.

A more recent one now: Louise Attaque. They're a French folk/rock band who write lovely little ditties. I like their late nineties music particularly, eespecially the wonderful track J't'emmène au Vent. The lyrics of that are repetitive enough to pick up as well.

Lastly, I'm going to give you a free download. I don't think Drew McConnell would mind so much - it's a testament to his brilliant Spanish. This is Helsinki - Lagrimas de Oro (Golden Tears), live. Love it.

Sound of the Summer

2009-08-08T10:24:00.001-07:00

Undoubtedly, some artists have a talent for making music for the summer. I was only ever a casual Zutons fan, but they are just made for soundtracking the sun and the picnics and the joy of summer days out. I also feel that about The Coral (don't tell me you haven't smiled from cheek to cheek listening to In The Morning on the radio), The Holloways and the fantastic Yeti. There are others, but those sound like pure summer to my ears.

This year, it appears Belle and Sebastian are going to take the credit for the sunshine. I am several years late (again), but if you haven't heard them, I'd really recommend giving them a listen, while the sky's still blue and evenings are still light. They're 'harmless', if you want to be condescending...but I don't. They're indie pop at its most charming, lively and summery.

A Rough Guide to Blur

2009-07-28T14:45:00.000-07:00

Having finally bought 13, I decided I could probably kick off my Rough Guides with A Rough Guide: Blur. Blur were/are: Damon Albarn: lead vocals, keyboards, some guitar. Graham Coxon: lead guitar, backing vocals. Alex James: bass, occasional vocals. Dave Rowntree: drums.

For most British indie fans, Blur defined the 1990s. Though Oasis too were at the top of the game, they just sounded like the 1960s on ecstasy (instead of LSD), so I don't think they deserve the legacy. Blur do. Starting off as Circus, then Seymour, the band changed its name to Blur on the advice of Food, the record label it signed to. Blur were a leading band in the movement Britpop, but developed over time into a more experimental, arty band - this may have alienated lo-fi punk guitarist Graham Coxon and caused him to leave in about 2000, which eventually triggered their split, after 2003 effort Think Tank. Blur influenced scores of modern bands, as well as spawning Damon Albarn's Gorillaz, The Good The Bad and The Queen and Graham Coxon as a solo artist. Back together again after 10 years, Blur may release another album, but recent media reports suggest that this comeback was just a nostalgia trip, and will finish as suddenly as it started.

Leisure (1991)
Blur made six albums. What? They made seven, you say? No, no. It was definitely six.

Leisure is the forgotten Blur album. It is forgotten by choice rather than careless error. Blur, who kicked off and lead the masses in Britpop later on, strolled onto the music scene with this repetitive, slightly lazy album. It sounds like The Stone Roses or The Happy Mondays, though it doesn't have the charm of being new and original. The world was still trapped in the indie dance confines of Madchester, and 'baggy', and Blur did nothing to combat this.

This is in retrospect. At the time, listeners weren't to know of Damon Albarn's later lyrical prowess, and Graham Coxon's later guitar brilliance, so they enjoyed the wholesome, innocent pop of She's So High and There's No Other Way without disappointment. Undoubtedly, There's No Other Way was an anthemic gem, and parts of Leisure showcased Damon's sultry vocals to full effect, and showed Blur's ability to inject emotion into tracks which other bands would fail miserably with (Wear Me Down, Sing, High Cool).

Popscene (1992)

Although only a one-track release, Popscene was definitely a musical turning point for Blur. It was a dramatic change, unlike their later slow evolution. Popscene featured a fanfare, stylish guitar ornamentation, and a shout-it-out chorus, drawing on influences like The Kinks, but also with strains of British punk. It seemed to be part of a calculated effort to be more 'English', after a destructive and unrewarding American tour. Popscene was Blur's first piece of Britpop, and arguably, the start of Britpop as a genre. It remains a fantastic track, angrier than anything from Leisure, and revealing Damon's first go at social commentary: 'Everyone is a clever clone, a chrome covered clone am I, and in the absence of a way of life, just repeat this again and again.'

Modern Life Is Rubbish (1993)

This is the first Britpop album Blur made: it combines social commentary with great music seamlessly. They slid out of the confines of repetitive trance indie and embraced unusual chords, a lo-fi sound and the first of Damon Albarn's very eloquent lyrics. For Tomorrow has it all: the detached melancholy which Blur became known for shines through beneath a perfect pop song, with a 'la la la' chorus but some fine observations on modern England in there too.

Other great tracks on the album include sensitive song Blue Jeans, about Damon's girlfriend Justine Frischmann of Elastica, upbeat but disdainful Villa Rosie and Sunday Sunday, and a lot of interesting, miserably loveable characters in various other tracks, including Colin Zeal, the uptight man caught in the rat race, the disillusioned Miss America, and the bitter Julian with pressure mounting on him. A moment of historical importance on the album is Star Shaped, a more personal track describing Blur snapping out of recent discontent and getting their dreams together: their career was to take off from there, giving the song meaningful resonance.

Parklife (1994)

Album number three exceeded all expectations. After a slow start to their career, and a sudden reinvention, could Blur escape the negative press they'd had from not being Nirvana copyists? Parklife silenced the doubters. Often hailed as Blur's best album, Parklife certainly contains fantastic pop songs: the famous tongue-twister Girls & Boys stands next to title track Parklife, and possibly their most beloved and beautiful song, This Is A Low. The album is more electronic than their previous effort, though it retains its deliberate Englishness: This Is A Low is a whistle-stop tour around Britain, Clover Over Dover a melancholy reference to the famous Dover cliffs, Bank Holiday celebrating the typical British tradition of...celebrating.

Though the most remembered effort, and certainly the one that catapulted Blur to fame, I don't find Parklife as fulfilling a listen as I'm told I should. The merry-go-round electronics are lost on me, Graham Coxon's distinctive guitar sound stifled under unnecessary polish in places. However, there is beauty in the innocence of this album. After Parklife, after a lot of bright lights came into the equation, Blur lost the youthful simplicity in Parklife and previous albums. I'd say it's an essential Blur album, either way: it marked their rise to fame, contains some of their best and most popular songs, and definitely defines what most people think of as Blur.

The Great Escape (1995)

Maybe the fame went to their heads. Maybe Blur felt under pressure to recreate the success which surrounded Parklife, but whatever possessed them, it made them write The Great Escape. There are some good songs on this album, but it sounds like it hates itself. Not clear enough? The songs are sung without Damon's usual soul, and the social commentary almost parodies itself in places: Dan Abnormal and Ernold Same are amongst the many tired descriptions of tired characters.

Even then, Blur cannot stray from writing catchy tunes. Graham Coxon's guitar skills are brought to the fore, and there are some moments which are a lot of fun: the risqué middle section of Mr Robinson's Quango ("I'm wearing black French knickers under my suit, got stockings and suspenders on, I'm feeling rather loose"), the punk madness of Globe Alone and the uplifting quirkiness of It Could Be You. Country House made a commercial splash. Also, of course, this album bred The Universal, somehow infinitely sad and infinitely uplifting at the same time, and destined to be the background music on adverts for decades to come.

Offering the opposite perspective, some people love The Great Escape - they like the classic tunes without getting bogged down in the 'soul' or the subjective charm of the album. And I can't have disliked it at first: it got me into Blur.

Blur (1997)

Perhaps The Great Escape was the last Britpop album Blur made. Speculation as to why this album is self-titled usually leads back round to the fact that this is a much more personal album, with less commentary and more reflective lyrics: see Beetlebum, You're So Great and Look Inside America. If the previous album sounded tired and like it was retreading old ground, this sounded like a rejuvenation of Blur, but still with a lot of darkness between the lines. Beetlebum is said by some to be about Justine Frischmann's heroin addiction, the fast punk of Song 2 (probably their most famous and successful song) is lined with anger, and lots of the middle tracks are slower and more morose than ever before.

This album uses electronics in a different way to those before it, the slurping sounds in I'm Just A Killer For Your Love a good example: they are less merry-go-round and childish than earlier in their career. Essex Dogs was a pointer as to where they were going next, musically. Blur bridges a gap between the light-hearted but lethargic Britpop of The Great Escape and the new directions of13, rather than standing out as a great album in its own right. However, it did spawn Song 2, Blur's first major US hit, live favourite Beetlebum and Graham's first lead vocal track You're So Great (charming in its boyishness, but somehow lacking, like much of Graham's later solo material.)

13 (1999)

To end the nineties, and end Blur as we knew it, they released 13. To me, 13 sounds like Damon's album, with Graham fighting for the lead where he used to share it so well. 13 is experimental and by no means Britpop. It uses those more adult electronics glimpsed in the self-titled, but much more, and with much more precision. Graham's punk guitar (which defined Chinese Bombs, Song 2 and Movin' On on the previous album) is in competition with Damon's preference for distorted electronic sounds and strange new auditory experiments. The new Blur sounds like it has four different directions, four people pulling four different ways. This was probably true: the band was made up of a politician and family man, a pilot and farmer, a world music buff, and probably most worringly, a hopeful solo artist in Graham.

I really like 13. It doesn't have as many singalong moments or big choruses as Blur would usually have (minus famous break-up singalong song Tender), but it has a gritty quality and an intensity they've never had before. It could be because there is so much going on in every track: they have all really learnt to play, loudly, and with electronics and distortion layered over the top, the texture is forever changing and drawing you in. The lyrics are almost entirely abstract or reflective, leaving behind social commentary. Graham's only lead vocal track, Coffee & TV, reveals that underneath all Damon's new direction, Graham is stifled and wanting to get out.

Get out is exactly what he did. By 2000, Blur and Graham Coxon were two separate artists. The band played some shows as a threesome, with Damon Albarn expermenting (albeit not with flair) on a guitar, and Alex James and Dave Rowntree just ploughing on - the band went to record Think Tank in South America and Morocco and Graham never turned up. Alex James was the closest to Graham in the band since he and Damon's friendship had become tense, and he remembers feeling that the band's balance was in jeopardy.

Think Tank (2003)

Think Tank is Damon Albarn's album for ideas, and Alex James' and Dave Rowntree's album for form. The bassist and drummer had got very good by then, but were always in the shadow of unwilling star Graham Coxon for talent. Now, Alex's eloquence on the bass and Dave's precision as a drummer (on the tracks he plays on) can be heard through the mix.

Without the aggression and tension on previous albums, the thing which Damon excels at can be heard best: the lyrics. Damon's lyrical skill is sometimes elusive, because he doesn't use florid language or heavy metaphors, he writes eloquently and simply and sets the words to the exact melody they need. There are hints of his politics on Think Tank in Moroccan Peoples Revolutionary Bowls Club and We've Got A File On You and, between softer numbers, electro punk rock to sustain your interest: We've Got A File On You and Crazy Beat, which is a perfect indie dance-floor classic. Sultry Brothers & Sisters commenting on drug use (which Blur had been very familiar with in the past) is a highlight.

What am I saying? Think Tank is one long highlight, in my opinion. It sounds like Damon breaking free of Graham, a very miserable notion which leads to a great sound, and at the same time it sounds complete. It's made for the summer, every chord evoking the beautiful scenery in which it was made (especially Out of Time, which has taken on South America, in the background noise and the music itself). Blur were at the end of the road though. Alex was right: a band is a very careful equilibrium, and this couldn't work for more than one album.

Blur didn't explode in a public supernova argument, band members didn't die suddenly, and the public didn't knock them from their podium after a bad album. Blur just fizzled out. The drink and merriment had been deserted, because though it had once bound them together, it now tore them apart. Blur gave way to new projects, including cheese-making and law school and folk music and Chinese opera. Over the next few years, Graham Coxon and Damon Albarn slowly reconciled, and they had a triumphant return this year. Lyrics bounced back from exalting crowds, roofs were raised, cheers reverberated around venues, and then the trees of Hyde Park. They headlined Glastonbury. Maybe there is a future for Blur, maybe there isn't, but it's certain that their legacy is now undeniable.

How to Buy Blur

If you are planning on buying/downloading all of the albums, I wouldn't suggest you take them out of order. They track a steady development (even more so than long standing bands like Sonic Youth) and all have some great moments on. However if you just want the general Blur 'thing', I'd suggest you buy Parklife and Modern Life is Rubbish, as well as 13 and Think Tank because they are great albums despite not being Britpop as such. The Great Escape and Blur are optional, though both have classic tracks on them. Leisure - well it's up to you, but it's no real loss if you miss it out. In my opinion.

Not content with their six albums, Blur released their Best Of with unheard track Music Is My Radar in 2000. It lacks simply because they made a great seventh album in 2003 and it's not represented. If you want a compliation album, this year's Midlife: A Beginner's Guide to Blur is probably the CD to go for: they have chosen the tracks and it is definitely a greater compliation. It also contains Popscene, which is quite hard to find otherwise.

Books

There is a well-publicised Damon Albarn biography - Gorillaz and other fables or something - but I don't recommend it. I got about thirty pages in, and despite being very interested in Damon's life, I couldn't get any further. It was dry and dull, packed with facts which you couldn't possibly remember all of, and very little analysis or style. If you were writing an essay on Bohemian upbringing, maybe you'd like it. After reading it, you can quote facts about what his music teacher thought of him for the rest of time, but it's not a fun read.

Bit of a Blur by Alex James, on the other hand, is a fantastic read. It doesn't fill you in on the technicals of the music in depth, but it does give you a few hundred page analysis of various types of alcohol, and girls, and it does so with wit and humour and charm. You may think he's an arrogant git, and you may well be right, but I've read this twice and it still makes me laugh and come out with gooey motherly 'awwww's every few minutes. It is history as well, remember. There are still facts (when he can remember them).

Any other Blur books are uncharted territory for me. By all means explore. There is a world of Blur at your fingertips, and I hope I've made it a little more accessible in this colossal block of heartfelt writing.

10 Songs I Love Right Now - 6/07/09

2009-07-06T07:19:00.000-07:00

Blur - Caravan

Caravan wasn't the standout song when I first heard Think Tank: Crazy Beat and Brothers and Sisters were my instant favourites, but Caravan is a grower and I've had it on repeat lately. Beautiful simplistic melodies gently chug along over sprinklings of keyboard, and typically eloquent Damon Albarn lyrics sung in a heavy, faraway voice make this song perfect for drifting away into.

Sucioperro - Liquids

The recent Sucioperro album, Pain Agency, is a proper experimental rock album, pulling out the stops on instrumental skill and raw emotion. Liquids is the opener and it has it all: riffs that Sucioperro will be offered serious money for by whoever makes Guitar Hero, angsty lyrics, little quiet sections with really weird guitar runs in, a melodic section at the end, aggressive drumming. Played back to back with Conception Territory's strange cowbell solos, you're going to go on some serious trip.

Ali M Forbes - Under Her Sails

So, Envy & Other Sins split up this week, to the great disappointment of their fans, who are a lot more sympathetic than their ex-record company. Ali's first demo is this song, as yet unreleased, but a lovely ditty with xylophone and acoustic instruments. It's pretty. Hear it here.

Sonic Youth - Walking Blue

I was always a fan of Lee Ranaldo from Sonic Youth, and I tend to love his songs best on their recent albums. He writes intense lyrics and sings them in rich, deep tones. This song is the same, with gorgeous percussion (I think it's a metal thing you scrape?) and nice chord progressions. Also a fan of What We Know, similar, but driven more by bass.

Stiff Little Fingers - Doesn't Make it All Right

Laid-back punk-ska track, made good by the fiddly bass part and the vocals - anti-prejudice lyrics are sung with a mixture of anger, disdain and exasperation, until it builds up into a percussion-and-mantra-powered punk song at the end.

Dirty Pretty Things - The Weekenders

A Dirty Pretty Things B-side, this track is just a daft Didz Hammond-ish retelling of the end of a relationship ("I showed you nearly all my heart and you showed me the door"), but it's done with nice guitar parts and upbeat chords. And Carl Barât's voice in the chorus is delicious. But that's just a given.

Blur - Popscene

It's deservedly on their new getting-back-together-and-making-a-lot-of-cash CD, Midlife, deservedly because it's a fantastically mad track, padded out with a brass section. This track is credited with giving birth to Britpop. It's certainly a lot of fun, I'll give it that.

The Coral - Who's Gonna Find Me

The Coral are fantastic at vocal harmonies, and that's what I love about this track: that and the slightly Hawaiian slides on the guitar. Pretty simple in structure and lyrics, this track is nothing to get excited about, really, but it's the sound of (a slightly angsty) summer and I'm temporarily addicted to it.

Yeti - Till The Weekend Comes

My favourite from 2008 album The Legend Of Yeti Gonzales so far, Till the Weekend Comes is a relaxed and slightly melancholy pop tune. Four-part harmonies and a day off: it's about as free as I ever feel these days. Don't Go Back To The One You Love is my second favourite, with cinematic lyrics describing some kind of thrilling escapade through the wilds of America, as well as containing Yeti's usual precise harmonies. There's a nomad in his mustang and everything.

The Specials - Ghost Town

The Specials are back together! The Specials! Despite a patchy Glastonbury performance, The Specials are back in full force, most still jumping round that stage, Terry Hall still staring intently into the crowd with an intimidating expression on his face. This song doesn't need justifying. It's fucking ace.

Leave me a comment if you'd like, if you agree or disagree with the above. Always open to debate.

Blur @ Wolverhampton Civic Hall, 24/06/09

2009-06-29T12:26:00.000-07:00

It took me a while to register that this was actually happening when four of my idols sauntered onstage last week. I haven't recovered from the initial shock. There had been a complicated preshow bar system with all sorts of inside-queueing and confusion, so when I got to the front and saw four brilliant people all together on one stage, it was dreamlike. It was the best place to be to witness the brilliance of a Blur reunion first hand.

Two supports, local band Tukazon and Klaxons-esque electro-rock band The Magistrates, had kicked it off. Neither were exceptional, but neither got boring as they only had twenty minute sets. Blur came on at the early time of quarter to nine, to frenetic pogoing as the opening chords of She's So High rang out in the 5000-capacity venue. The crowd were fantastic: stadium-worthy singalongs and mass jumping ensued.

Alex James stood like a prize on the right hand side of the stage, posing coyly for photographs, flicking his hair and moving his hips. They'd all lost weight for the tour and looked at their youngest and best for years. Damon Albarn's energy was contagious; after the subdued poise of The Good, The Bad & The Queen, suits and hats aplenty, he seemed pleased and relieved to be back on a stage where he could charge around, stage dive and berate the crowd for not singing loudly enough. At one point he changed shoes because he was slipping around everywhere, to a crowd chant of "Damon! Damon!" that soon turned into a round of all the band members' names.

The setlist was vaguely chronological, with tracks from the shunned first album Leisure, the underrated second album Modern Life Is Rubbish and the famed third album Parklife played near the beginning. The first pause for breath came during Badhead, the crowd surprisingly nonchalant considering the song's delicate charm. The full setlist can be found here, two encores and all. Highlights of the night for me were Beetlebum, which was epic live, especially with that sultry bassline, Sunday Sunday with its manic second half, Parklife, which was sped up to a ridiculous tempo and punkified beyond recognition (Phil Daniels never turned up, sadly), Tender for the crowd participation, This Is A Low for the pure rapture, and of course, The Universal.

The Universal was just superb. It was the final song of the night, after Blur playing almost 2 hours, and the band buzzed with the most amazing positive vibe: they got a standing ovation on the balcony, and at the end, the whole band just stood without their instruments, grinning and lapping up the applause they fully deserved. It was fifteen years ago again, four men youthful and vibrant (despite the thinning hair and wedding rings), four kindred spirits, back together to have another go at it. Thank fuck.

I got a plectrum and Dave's signature afterwards, though teetotallers Alex James and Graham Coxon left early, and Damon rushed out, rightfully shattered after a fantastic gig. Really worth the wait, considering I never thought it would happen. I hope for a bright and Blurry future.

9/10

'The Eternal', Sonic Youth

2009-06-15T09:01:00.000-07:00

Though releasing their 16th studio album, Sonic Youth have managed to slip under the radar of the mainstream for most of their long and fruitful career, flirting with fame (outside of the indie community, in which they are worshipped) only when Incinerate, taken from 2006's Rather Ripped, recieved a good amount of radio airplay, and Superstar got into the soundtrack of the hit film Juno.

When first listening to this album, it feels like Sonic Youth have regressed more than progressed. It could be that their indie vehicle has veered too close to the mainstream for their liking, or for their fans' liking, so they have deliberately headed back to the early 2000s sounds of Murray Street and Sonic Nurse; it could just as easily be an unconscious returning to that sound, or it may be something that only I have perceived. However, The Eternal does remind me of those albums, less mellow than Rather Ripped, and with generally longer and more noise-filled songs.

You may notice, I am not raving about this album, yet. With Sonic Youth, the music recorded in the last 10 years is very different to their original trademark sound, but in each era, they record a lot of similar music. It feels like Sonic Youth are retreading old ground here. Admittedly, it is ground that they paved (or should that be broke?), but movement forward is slow and...a little boring.

Having said all that, looking at The Eternal out of context, this is a great album of good songs. Opening with the unnerving chords of Sacred Trickster, it matches the standard of any of the young bands around today. Sonic Youth will not be left behind. They are on a platform of their own - listen to the cryptic lyrics of Anti-Orgasm, the rocking 'woah-woah's of Thunderclap, the beautiful timbre of the guitars in Walking Blue or the profound lyrics and gorgeous bassline of What We Know for proof.

You could compare Sonic Youth to Jane Austen. Yes, she basically wrote the same book loads of times, but they're all classics, aren't they? They're all praised, and they all epitomise their genre. Well there you go. Sonic Youth have done it again.

7.5/10

Peter Doherty arrested.

2009-06-11T10:27:00.000-07:00

For drink driving, and driving without a license. In possession of class A drugs. Again.

Hopes of an imminent Libertines reunion are dashed; Carl Barât said he would get back together with Pete if Pete could stay off the drugs. And Pete agreed, as he always does - but they were false promises, as they always are. I was naïve to think it would turn out any other way - I was so hopeful for a Libertines reunion, tour, and then new material (which I am detemined would be good enough to sustain their legacy, even if it wasn't as youthful and invigorated as it was ten years ago).

What that man does with his life is his choice, but I know many fans will be disappointed now. I don't like it when Pete gets dragged through the tabloids, ends up in prison, has his musical creativity put on pause by the law and the media. I don't think any fans do.

Like he once sang:
"My boy who will believe your lies? Noone's going to sell you any alibis."

'West Ryder Pauper Lunatic Asylum', Kasabian

2009-06-06T06:02:00.000-07:00

The last thing I expected was for Kasabian to mature and develop before their third album. I'd gone off Kasabian recently, with their masculine bravado and Oasis-worshipping, but I decided to listen to West Ryder Pauper Lunatic Asylum anyway, just to see if I could rekindle the fire that burnt when I first heard the empowering swagger of Empire, or the anthemic simplicity of L.S.F., from their eponymous debut.

Underdog, the first track on the album, rekindled the fire instantly. Where most of the British rock bands have swung with the times recently and made electro-inspired albums (see Franz Ferdinand, Maxïmo Park, Marmaduke Duke), Kasabian have kept a gritty guitar sound, not overdosing the synths which have defined them in the past. However, the synths and electronics are still there, hidden in the mix, perfectly integrated. The production is great, managing to get the album sounding rich and clean without smothering the raw edge which makes Kasabian...dare I say, Kasabian.

Kasabian have matured. The lyrics still don't matter too much, more chosen for auditory aesthetic effect than literary quality, but the music has matured: they are experimenting a lot more with new sounds, textures and structure, while still retaining catchiness and dance-worthy beats.

Kasabian seem to have been listening to different music during the making of West Ryder to that they were inspired by during their previous two. Obviously, there are echoes of Beatles/Oasis in everything, but Thick As Thieves has a bit of the Carl-Barât-ballad about it, Secret Alphabets is surprisingly minimalistic, Swarfiga sounds like late The Fall, Fire reminds of 60s-psychedelia, but with a Kylie bassline, and West Ryder Silver Bullet has an 'Age Of The Understatement' Last Shadow Puppets feel to it. And yet all of the tracks work - even the tracks I like least (Take Aim, Happiness and Thick As Thieves) have their good qualities. Kasabian have escaped the shadow of Oasis, and I believe it's further into the sun from here.

Now, anyone got a spare ticket for one of the gigs?

8/10

The Libertines: Reasons For Speculation

2009-05-28T07:55:00.001-07:00

Is there a man who wears a leather jacket better than Carl Barât?

That is barely relevant, but I felt a need to pay a homage to the man who has taught me the ALT code for the letter â (ALT 131 of course), especially in such good times.

The Libertines reunited, briefly, last week, for a gig to pay tribute to the deceased owner of the Rhythm Factory in London. Carl, Pete and Gary are all scheduled to play Camden Rocks festival in early June too, and wouldn't it just be torture for them all to be at a festival and then not play together? And if a show happens, with Carl, Pete and Gary, followed by more little gigs like that...well a full Libertines reunion is on the cards, like we've been told. Pete & Carl have said they would record together next year, a promise which set fans' blood racing; definitely mine.

My worries are about John's decision. It is no secret that Peter has wanted to reform The Libs for a very long time. Carl is making positive noises now, and Gary seems to be going along with Carl. But John? John Hassall is busy with Yeti, a lower velocity group with seemingly a lot of mileage: things are on his terms and he doesn't have egos and drugs to compete with, he can stretch his musical muscle, make the sound he wants to. There are other bassists (cue Drew McConnell, enter stage left) but John was always the bassist for the job, with his fast fingers, his image, and his ability to fade into the background to let Pete & Carl take centre stage, while still being a strong presence. In the Libs book, it was said, "John is the only bassist." Perhaps he is. A Libs reunion would not be the same without him.

All the same, it is a good time to be a Libertines fan. Not as good a time as 2001 and 2002, waiting for an unscheduled gig on the dishevelled pavement of the Camden Road, or logging onto libertines.org back in its hayday. No, it's not as good a time as that, but it certainly feels like there is a future, regardless of your opinions on their reformation. There is unfinished business between the boys in the band, and I for one am waiting for the saga to continue.

Maxïmo Park @ Birmingham Academy, 19/05/09

2009-05-20T04:08:00.000-07:00

I left this gig high, with the impression that the crowd had loved the show almost as much as I had, from the cheering and calling Maxïmo back on for an extended encore. However, all I overheard on the journey home were comments about how average it had been.

So that's my 'taking-other-people's-opinions-into-account' quota met. Personally, I thought they were pretty good. While putting up posters before the gig with my friend (who works at the Academy) I saw Lukas Wooller eating his dinner in the Academy canteen. I feigned nonchalance, as my friend could lose his job for approaching band members, it's against the rules...but Lukas could see from my Maxïmo Park shirt and vaguely starstruck expression that I had noticed him. We also saw Duncan Lloyd wandering rather aimlessly around on the balcony, exploring the venue maybe, or just lost. It was a little dreamlike, but I'm not usually one to 'freak out' on seeing my favourite musicians. An uttered 'God, it's Duncan as well' sufficed.

The support acts were both average. Stricken City up first sounded a little like Florence & The Machine, and the songs were okay but repetitive. I wasn't struck (pun intended). The second support were Bombay Bicycle Club, a band I've heard of and have been told I should like. I wasn't too impressed though, they could play their guitars but they chose not to in many tracks; the lead singer looked like he was on some kind of hallucinagenic stimulant and the bassist looked like he was on some kind of sedative. The crowd seemed to like it though, there were chants of "BBC!" and cheering.

Maxïmo Park launched into The Coast Is Always Changing at about half past nine, and the crowd were having a good time. I was about 2 rows back, but the front row were unusually tall so I couldn't see much. All the same, I could see Paul Smith with his dramatic facial expressions and Lukas with his rigid dancing behind the keyboard. (Sometimes I think Paul's just in a band so he can dance like a man possessed: he'd probably get chucked out of a club for scaring the clientele, but he's allowed to do it when he's the frontman of a band.) They're the personalities onstage. Archis Tiku just stood at the back, Duncan got on with playing his guitar, and Tom English played drums rather regally, haloed by pink and purple lights every time I looked.

I can't recall the full order of the setlist, but these are the songs they played as far as I can remember: The Coast Is Always Changing, The Penultimate Clinch, Girls Who Play Guitars, Going Missing, Our Velocity, Let's Get Clinical, Tanned, Nosebleed, Overland West Of Suez, By The Monument, Questing Not Coasting, I Want You To Stay, Books From Boxes, Postcard Of A Painting, Roller Disco Dreams, Limassol, Wraithlike, The Kids Are Sick Again, and then the encore: I Haven't Seen Her In Ages, Graffiti and Apply Some Pressure. Graffiti they added because the crowd were being 'very kind' (hence my suprise at the abundance of negativity from people afterwards). A group of girls and I shouted for Graffiti, so I want to believe they played it because of us, but it's probably not true. I'd forgotten how amazing surround sound is for Maxïmo Park songs, with the textural interplay between keyboards, bass and guitar being panned across the room.

8/10

10 Songs I Love Right Now (6) - 17/05/09

2009-05-17T11:22:00.000-07:00

The Libertines - I Got Sweets

Libertines are my favourite band, and I Got Sweets is my favourite B-side at the moment, along with Half-Cocked Boy with its sumptuous chords in the chorus. I love I Got Sweets because it is jazzy, breaking into a walking bassline and instrumental solos in the middle. It's proper music, this, and Carl's voice couldn't be more attractive. I've been over-listening to Eight Days A Week (Beatles Cover) too. Let's hope this reunion happens, which their gig in London last night seemed to make more imminent.

The Kinks - Sunny Afternoon

The film The Boat That Rocked brought this song back to my attention. I've always loved it, however simple the chord progressions are. The lyrics about the taxman 'taking all my dough' work in the recession - it's a very miserable song lyrically, but it's so relaxed and manages to be uplifting at the same time.

Sonic Youth - Paper Cup Exit

Paper Cup Exit starts quietly, with repetitive drums and then a soft guitar riff. It seems like a 'skip' track until the unnerving verse comes in, with slightly discordant guitar chords against Lee Ranaldo's severly underrated, rich voice. After the crypic lyrics 'I don't mind if you sing a different song, just as long as you sing along', it drops to an edgy, almost scary riff. From there, it gets more and more tense. This track is haunting, but in the most amazing way.

Carcrashlander - Coast To Coast

On CarCrashLander's album Mountains On Our Backs, this wasn't a standout track to me, at first. I loved Quoting Dead Comedians and Capillary Webs. They're still good, but this proved to be a more elusive gem, with catchy lyrics and melodies that got trapped in my head, but were subtle enough not to get on my nerves.

Babyshambles - Wolfman

Wolfmaaaan! You're giving me the hump, maaaan! I don't know why this track is quite so memorable, or catchy, or sexy, but it is. There is a long drum solo at the end too that sounds almost like African fusion - it's a great track, and I can see why it was a live favourite back in the Down in Albion days.

Blur - On the Way to the Club

This is a track filled with such sincere-sounding tenderness, with such well-chosen words, it is impossible not to fall in love with it. Building up slowly from a simple drum beat, through soft sprinklings of guitar, to the soaring chorus, 'I just want to be, darling, with you', it is intoxicating. And it helps me sleep, which for once, is not damning.

Django Reinhardt - Minor Swing

If you can spell his name, Django is a brilliant find - I found him because he is said to have influenced Carl Barât's guitar playing style very much, which I can see. So surprised was I to hear a song from the soundtrack to the Johnny Depp film Chocolat, that I went and downloaded it straight away. Minor Swing is exciting, jazzy, displays musical virtuosity and reminds me of Johnny Depp, which has to be good.

Pavement - Stereo

After getting over the inital shock of hearing my stereo singing 'Oh! Listen to me! I'm on the stereo!' I found this to be a great song. The vocals are very American, which would usually put me off, but this time added to the lilting feeling of the song, with its lo-fi but uplifting edge.

Graham Coxon - Sorrow's Army

The first thing I thought when I heard this was 'Man, he can play guitar!' Graham has mastered the fine art of finger picking here, or at least showcases it to its full advantage for the first time. It's a great track, very simple and repetitive rhythmically, but energetic, well-played and very danceable (it may not be in the dictionary, but you know what I mean, right?)

Marmaduke Duke - Je Suis Un Funky Homme

The album (Duke Pandemonium) is thrilling enough before this track comes on, but this comes like the cherry on a particularly delicious cake. Daft and excellent in equal measure, Je Suis Un Funky Homme is a wonderful slice of experimental dance pop - that high-pitched organ and those mad vocals...it's a musical delight.

A 405 Update and Other Bits & Pieces

2009-05-14T13:02:00.000-07:00

My first ever very positive review has gone up on The 405, a review of the CarCrashLander album Mountains On Our Backs. I decided to give it 8/10, for reasons you can find out if you read the review. That 'job' is going quite well, I've reviewed quite a few things already, and I'm about to submit a Graham Coxon single review, which is also very positive. I must be mellowing with age, or I've just been inundated with great music.

While on the topic of Graham Coxon, can anyone actually translate his Twitter updates for me? He has so many injokes with himself I can barely understand a word of it. That doesn't matter though, really. What matters is that he's got even more fantastic at the guitar for this current album The Spinning Top, which is out now. I reckon he's picked up an acoustic tenderness from Peter Doherty, judging by the single. If I had the money, I'd buy it. However, I've spent that money on going to see Blur in Wolverhampton; at least he profits.

I heard a snatch of Frank Zappa yesterday, one of the artists I really should know about and listen to, but don't. A few weeks ago I reviewed Marmaduke Duke's new album, saying I'd never heard anything like it. Well, now I have, and Frank Zappa did that stuff decades ago, so I'd like to mention that in retrospect. The nod for originality I gave Marmaduke is not quite so deserved, especially as if Zappa did experimental electronics in that style, someone else probably did too. My fault entirely for being too young to know Zappa first hand.

Levellers @ Wolverhampton Wulfrun Hall, 1/05/09

2009-05-02T02:46:00.000-07:00

Idols to a whole range of skanky people, annoyers of the authorities and long-standing folk-rock legends Levellers played the Wulfrun last night. If you're not familiar with them, you've probably never been a student or an anarchist or been to the Hippy parts of a festival. You've probably also had a wholesome life. Wherever Levellers go, they and their fans leave a trail of drunken destruction, littered with used swearwords and anarchy/peace symbols. But don't think I'm criticising.

They are excellent live. Supporting them, they had chosen two very different bands, one a skunk band ("it's skiffle/punk, nothing to do with what we smoke or the way we smell") called Hobo Jones and the Junkyard Dogs, who came out and played remarkable homemade instruments in true skiffle style, including a washboard and a wobble-board sounding instrument made from a branch and some elastic. They covered The Clash and Green Day amongst others, got a roadie on stage, and sang a song for "our Prime Minister, who's doing a wonderful job" *makes tosser gesture*, Gordon Is A Moron. They were hilarious, from the facial expressions and in-song dialogue to the 'Mine's a whiskey' taped onto the back of the guitar. The second band were a ska or reggae outfit, Pama International. Think The Specials with a soul singer. It went on a bit long, even though it was decent.

Levellers came on, starting with A Life Less Ordinary, and the crowd went mad. The trouble seemed to be started by a whole host of short bald men. I don't know why it was bald men in particular, but it was, and they were all shorter than me. From the very start, people were drinking huge amounts, so when drunken fighting and shoving ensued, I had been expecting it. The music was ideal for it though - Levellers chose all of their most thumping tracks to play. As well as A Life Less Ordinary, they played One Way, Carry Me, World Freak Show, Behold A Pale Rider, The Riverflow, Beautiful Day, Barrel Of The Gun, Death Loves Youth,The Cholera Well, Before The End, Eyes Wide and probably some more. They did 2 encores, playing right up to the curfew.

At one point the lights went and the room was plunged into darkness, but Levellers played on ('we're willing if you're willing'). A highlight was the merch stall man coming out in full fluorescent make-up and a blue mask, in a skirt, pratting about with his huge digeridoo (no pun intended). A sick bastard did decide to feel up all the girls on the second row, including myself. I think he got a slap once, I elbowed him, and he finally got his comeuppence when he decided to touch up a girl in the very centre, and he got caught in a lot of sweaty blokes moshing and shoving him about, without a girl in sight. I laughed.

It was a good night. I'd definitely say Levellers are one of the best live bands I've seen, though they chose their most similar songs to play. Still, brilliant playing, brilliant songwriting, wonderful lyrics - an example of a band that have stayed outside of the system, and stayed good. Go see them.

8/10

'Duke Pandemonium', Marmaduke Duke

2009-04-16T01:19:00.000-07:00

Marmaduke Duke is the side project of Simon Neil from Biffy Clyro (The Atmosphere) and J P Reid from Sucioperro (The Dragon), and their first album The Magnificent Duke was a mad conceptual screamo-meets-noise-rock 18-track explosion of sound. Even if you decided to give up trying to dissect the album for its various 'concepts', it was a musical masterpiece which left you feeling bemused, emotionally tired and mildly enlightened.

On first listening, Duke Pandemonium could have been made by a different band to The Magnificent Duke. It is electronic synth-and-drum-machine-based pop, but it's amazing. I listened to it first on the bus, finding it hard to control my shocked facial expressions, especially in the breathtaking, muted soaring guitars in Erotic Robotic, and during the very weird Skin The Mofo Alive, in which there is every type of percussion you can dream of, including tropical drums and...spoons? I can definitely hear pots and pans being hit elsewhere. Tracks like Skin The Mofo Alive border on parody, though what it would be a parody of, I do not know; this is by no means a bad thing. In fact, it's genius.

This is what side projects should be like. In Plato's world of ideals, this would be the archetypal side project. It's exciting, always changing; all of the Biffy and Sucioperro ideas that were just too daft or mad to use have been rolled together to make this, and skilfully. Highlights include the seven minute extravaganza Pandemonium, sexy and lyrically amusing Erotic Robotic, and the ridiculous but sublime Je Suis Un Funky Homme. Anything here could be a dancefloor classic, but each track deserves more listening to that.

Have I ever heard anything like it before? No way. Is it too daft? Maybe for some. Do I like daft music? Hell yeah. Marmaduke put the 'mental' back into experimental.

9/10

How do you judge experimental?

2009-04-11T06:13:00.000-07:00

It struck me while I was trying to get to sleep last night - when listening to experimental music or looking at experimental art, or even concept music and art, how do you judge it? If you can't judge it on musical skill because that 'wasn't the point', or on popularity, because that's 'not the point' either, then what do you judge it on? How do you tell a 'good' concept from a bad one?

The only way to judge, I suppose, would be on how well it fulfilled its desired intention, how well the concept was portrayed...but if it has done this so badly that you can't tell what the artist was going for at all, then they can hide behind a screen of superiority and self-righteousness, because you're clearly just missing the essence and meaning behind their masterpiece. So, surely it should be judged on how many people get the art or music. But surely that cannot be true, as if there's one thing I've learned in culture, it's never to judge quality on numbers: Bob The Builder got to the top of the charts.

An artist called Mary Riley started me thinking on this. How many times can artists paint canvases white and get away with it, ay? When will the art world stop nodding along and just say, without a hint of cynicism, 'That means absolutely nothing, and you well know it. Get a job'?

The 405 - A Recommendation

2009-04-02T10:03:00.000-07:00

I am now on the writing team at The 405 (click here) and my first two reviews are online now. One is a retrospective review of Blur's Parklife, and the other is a review of rockers Hundred Reasons' new album, Quick The Word, Sharp The Action. There is also an interesting debate over whether The Libertines should get back together starting up at The 405 Debate.

The 405 (and yes, this is a plug) is an excellent review site, looking at art, books, film and music, which is just about to turn 1. It's really worth a look, and worth favouriting if you ask me. I wouldn't have offered my writing 'services' did I not think it was a brilliant site. Go on...

10 Songs I Love Right Now - 28/03/09

2009-03-28T06:27:00.000-07:00

High time for another of these I think.

Graham Coxon - Freakin' Out

Freakin' Out is possibly the most uptempo song about boredom you will ever find. It's about that month when you weren't going through relationship problems, weren't really in love with anything, didn't need money, weren't recovering from a serious addiction - and the absence of anything interesting was driving you mad. Everyone's felt it. This song captures that, with a fantastic little guitar solo and a catchy chorus. If you want to hear Graham at his most sensitive best, outside of Blur, listen to the beautiful Ribbons And Leaves as well.

Franz Ferdinand - Bite Hard

Bite Hard is the best song on Franz's third album, Tonight, from the gentle but unnerving piano introduction, with unsettling lyrics, to the ambiguous cries of 'Bite hard!', to the fantastic upbeat synth solo. It's perfect to wake you up in the morning, and it's brilliant live, and it encapsulates the singalong silliness of Franz at their best.

The Libertines - What a Waster

What A Waster was not a crap first release. It was not a 'This band have potential, but we're gonna have to wait and see' track. This song, rightfully, gained The Libertines a ridiculous amount of hype as the British front line in NME's 'New Rock Revolution'. This track was, and is, a punk rock explosion of anger and youthfulness, referencing Ulysses and the Beano and the Book of Revelation, shot through with sadness, bursting with expletives and oozing talent...a brilliant song.

Levellers - Before The End

Levellers' most recent release, Letters From The Underground, is an angry, rough record, with guitar solos and fast fiddle sections and political lyrics; it is typical Levellers. This song stands out however as being a bit different. It's sentimental, looking at failing love: 'it's just one kiss to build a dream upon'. It's softer, more thoughtful, and has some lovely melodies.

The Strokes - New York City Cops

Like Last Nite, New York City Cops is a snapshot of a moment in time, in New York City, at night. It opens with Julian Casablancas being daft - "Oh! Haha, I meant: Ah! No I didn't mean that at all." This is endearing, especially with his undeniably sexy voice. For once, The Strokes abandoned their extremely repetitive strum-strum-strum-strum formula (at least on lead guitar) until the chorus. It's a welcome break.

Peter Doherty - New Love Grows on Trees

It is hard to sum up the brilliance of this song in a paragraph. It's beautiful, telling of the foolishness of teen promises and decisions ('If you're still alive when you're 25, will I kill you like you told me to? Well I really don't want to.'), telling of growing up, telling of new love growing on trees (?), all sung in Peter's fitting drawl over ambient electric distortion and acoustic guitar. It's so much more than pretty.

The Hair - Half Cut

The Hair, now Club Smith, are one of the better new bands to make use of the fashion for electronic synths and samples in British music right now, because they combine it with catchiness, great percussion and some really (dare I say it) funky songs. Half Cut is a walk-along-the-road-smiling track.

Sonic Youth - Purr

Sonic Youth are still up there in my favourites, and now I've found Dirty, that's where they're staying. Purr growls along in two-chord sultriness: it's violent, youthful, brilliantly played garage rock. The opening riff is life-affirming and gives me the shivers. The lyrics are simple but definitely thought out. Almost as brilliant are the melancholy Wish Fulfillment and Chapel Hill from the same album.

Maxïmo Park - Wraithlike

A new track from the new album Quicken the Heart, due out in May, Wraithlike has the lo-fi edginess of A Certain Trigger without the polish of album number two. It's a return to their roots, only faster, angrier and with more interesting time signatures.

Peter Doherty - Broken Love Song

Played with 4 guitars onstage live, Broken Love Song is a very pretty track, with lovely lyrics about loneliness and a chord sequence to die for. Nice vibrato on the electric guitar makes this track, as well as Pete's voice, which works very well on this softer album. Want more of Peter being poetic? Try I Am the Rain, it's not as good musically but it's got nice introverted lyrics. Lots of metaphor.

I've been listening to a lot of music this month. Last week last.fm told me I'd listened to about 2 full days of music on my iPod and computer alone. Check these songs out, they might do for you what they do for me.

Peter Doherty @ Birmingham Academy, 25/03/09

2009-03-26T10:08:00.000-07:00

The first notable thing about this gig was the number of utter tossers in the crowd. I found it almost upsettingly predictable that Pete attracted this type of fan; it would have been nice to have an intellectual, sober, appreciative crowd, but alas, those fans must have stood at the back, or gone to see Metallica up the road instead.

I'll elaborate. You know that one group of lads with their girlfriends who ruin it for everyone by shouting obscenities, throwing beer, making moshpits, deliberately kicking people, smoking and fighting their way to the front? The one group that everyone is trying to ignore and rolling their eyes at? Well, I think 99% of the crowd were like that last night, or at least at the front. I stayed at the front anyway. Peter sauntered out when people were filing in, just after 7, shook hands on the front row and said hi. That surprised everyone.

The first support act were okay, a band named Red Roots. They played reggae indie, with a black lead singer and bassist, and a white guitarist and drummer: harking back to the days of 2tone. It was nice enough but got dull. There was no second support: friends of Peter wandered on and off the lit stage playing short solo sets. This included Drew McConnell of Babyshambles, who played three fantastic songs, one all in Spanish (for us girls) and one with Niko.

Finally when Peter came on, after Music When The Lights Go Out, he introduced Graham Coxon (to the wrong side of the stage, for me) and Drew again. The next few tracks were from the solo album, and though the crowd were rowdy as Hell, they weren't half singing their hearts out. Peter was on form, singing well. It was a good setlist too, though there was nothing from Shotter's Nation or Up The Bracket in it, a disappointment for me. What A Waster was in there though, the end of the chorus '2-bob cunt' sung with enthusiasm by the rough standing crowd. They got more and more drunk and objectionable, threw more and more beer and shoes and whatever else onstage. Graham Coxon smiled away, but all onstage were unnerved by the amount of beer and personal possessions showering their wires and amps (including a bag which Pete rifled through, 'looking for ID'). Drew on cello was a crowd-pleaser, and he could play as well, wearing a fantastic Dracula-esque suit that I admired very much.

The crowd were not going to be moved after Peter went off, singing a Babyshambles riff on repeat and chanting. He came back on, played Time For Heroes, before letting Lee Mavers of The La's come on to sing There She Goes (The La's song, not the Babyshambles song). After this, Peter came out and played Beg, Steal Or Borrow and a glorious rendition of Fuck Forever. He stood on the drumkit and we all chanted along.

All in all, the performance was fantastic, but the audience ruined it somewhat, at least at the front of the gig. I like a bit of roughness, rowdiness, or I wouldn't try to get to the barrier, but some of those people were just self-centred gits, really. So, overall, 7/10, I think.

'Grace/Wastelands', Peter Doherty

2009-03-18T09:56:00.000-07:00

Peter Doherty is Mr Marmite. Along the way, he has built up a horde of fans who would pay good money for one of his cigarette butts, who won't hear a word against him and want the world to know he's the Messiah. The same way, he has gained a huge number of haters who think he is a waste of space, and as he states perfectly in Broken Love Song, would love to see him swinging in his cell.

This album does not reinforce either position. In fact, it is hard to believe that the same man who causes such intense feelings in people made this album. It is certainly not bad, not with gems like A Little Death Around The Eyes, but it is, dare I say, a little boring. There are 'skip' tracks: Sheepskin Tearaway and Lady Don't Fall Backwards just can't hold my attention, and I don't have the feeling it's going to be too much of a grower.

Peter has one inexplicable skill, however. He can write phrases which evoke strong emotion. Although New Love Grows On Trees is excellent from beginning to end, most songs don't manage to stir the heart all the way through, but most of them have at least a passage, a lyric or a melody which you can float away on, a moment which truly touches the listener. This would be different for everyone of course, but the skill is definitely there, and is found in a lot of things penned by Peter in the past. 1939 Returning, New Love Grows On Trees, Broken Love Song and A Little Death Around The Eyes are standout tracks because they make good use of Pete's talent for inspiring feeling.

This album is a departure from what Peter has done with Babyshambles and The Libertines. It's a lot more laid-back, thoughtful and it makes use of different instruments, like in the ridiculously old-fashioned but well-written The Sweet By & By (which sounds like it should be on an advert for an old-folk's home, or in a light television comedy-drama, and is definitely about Carl Barât). Stephen Street has done a lovely job of the production too, cleaning things up and getting the best out of Peter's drawl, without killing the atmosphere with polish.

The only problem I have, as I have said, is that the formula for each song gets boring. Sometimes, all you want is for someone to turn up the electric guitar and play a great guitar solo, or for the drummer to stop holding back. It's too mellow, I suppose.

I would give this album 7½/10. It's good, well-written, thoughtful music, what you'd expect to happen when Peter went solo to be honest, but that 2½ it missed out on is for the unreached potential, in the absence of the passion and energy that Pete usually cannot keep out of his music.

Franz Ferdinand @ Birmingham Academy, 8/03/09

2009-03-09T09:35:00.000-07:00

I think it is safe to say queueing from 10am for this was worth it. I didn't do it, my friend Nita did, but I joined her at 12 and we had a riot of a time. Okay, it was freezing, but her excitement was contagious. See, she'd been waiting 5 years (though intense prolonged obsession) for this - they've only played once near us in 4 years, and she couldn't go to that, so today really mattered, and didn't she know it!

Everything went right. We met their manager Parker and got to hold Alex Kapranos' guitar case, and at about five, Franz arrived in a little silver van and Nita followed them right into the ''No Entry" depot and spoke to Alex. We all got pictures, and she was surprisingly composed.

We went inside at 7. We managed to get to the front, centre, which was excellent, but there was a full hour wait until the support act The Soft Pack came on. I've never seen a band only have one support at the Academy, but it was so, and they were very good. They were all talented players, but the sound had been set up wrong and you couldn't hear the vocals (and the lead guitar was deafening). They also lacked stage presence, though I've seen much worse in that respect, and generally I was impressed and will be finding out more: talent, catchy tunes, great guitar sound. It was another half hour or more before Franz came on, but I liked that there wasn't a second support - there was no faffing, no aching feet and no prolonged waiting after waiting all day.

Franz Ferdinand were amazing. They put on one of the best shows I've ever seen, with official videos, other videos, even videos of the stage from weird angles coming up on a screen at the back, and a light show to die for. There were some real 'wow' moments, like in Outsiders during the encore, where all of the band members and a roadie gathered round the drumkit and played a drum penta-solo. They had the balance just right sound-wise, and they seemed very pleased to be playing, Alex smiling away and making eye contact with the lucky (oh so lucky) front row. I was glad it sounded very guitar-based live as well, much more so than the album.

From what I can remember, they had all the expected in the setlist, including Michael, which they opened with, No You Girls, Bite Hard, Take Me Out, Twilight Omens, Matinée, Do You Want To, The Fallen, 40' (which I was very happy they played - I sank into bliss when I heard that intro), Turn It On, Walk Away, Lucid Dreams, The Fallen, What She Came For and Ulysses, though not necessarily in that order. In the encore they played Jacqueline, Outsiders and This Fire (though I seem to remember there were 4...hm, I don't know, my brain was more occupied with having a great time than recording the setlist.) The only fault I could possibly find would be length of setlist, even though it was decent - who wouldn't want a great band to play a few more songs?

After the gig, they had to rush off to London, so they were out in 5 minutes carrying all their bags. Nita got the setlist (that I'd caught and kept for her) signed, and a poster signed, and another gazillion photos of Alex's back. Nick had seen her there on the front row, and he told her she was amazing and kissed her on the cheek. They made her life.

There was an unusual bit of merchandising too - a CD of that night, pressed straight to disc, which you could buy for £15 to have a copy for yourself. I think you can also obtain a copy of the recorded gig here, for a slightly higher price, but it's a decent idea anyway. Exellent gig, it should sound fabulous on recording.

9/10 I think, for Franz, 11/10 for the whole experience!

A 'modern music' observation

2009-03-04T09:14:00.000-08:00

I haven't been on the scene long enough to have seen changes in musical fashion over and over again, though I know they have happened, but recently I'm really noticing a change in what is fashionable and it became noteworthy when Franz Ferdinand changed direction seemingly to go with this new tide, with the release of their third album, Tonight.

A few years ago, the rise of 'emo' came about in the hardcore scene, where all the cool kids who wanted to listen to metal but couldn't stomach it started listening to pop, disguised under metal overtones and dyed black hair. That was the fashion when I started really listening to music. I didn't listen to that music, as you can tell from my apathetic description, but I didn't see that three years later, those same 'emo' kids would be listening to electronica-pop disguised as indie under indie-style haircuts and skinny jeans.

I wouldn't have a problem with it if that fashion didn't interfere with what I listen to. However, Kaiser Chiefs and Franz Ferdinand, being 'indie' (in the loosest way possible), have decided to buy in on the electronic dance side of things. I suppose, first Klaxons, CSS and New Young Pony Club happened, and proved to be the cutting edge for a while, so a couple of years later, a less cult form of their music emerged, with a more disco-retro feel, seen in Black Kids, Ladyhawke and MGMT, Vampire Weekend, Friendly Fires and Late Of The Pier. This music is not in itself offensive. But seeing their success, bands like the Chiefs and Franz inadvertently (or not) changed their direction and both their third albums are dancefloor records. They also seem to be adopting dance support acts.

It's not a travesty. I'm not a 'good old days' kind of girl. However, I did like the feeling of music post-Libertines, that guitar sound and raw edge that Franz Ferdinand managed so well in album number 2. It seems to be fading into the background for a while, making way for synthesisers, sharp production and sparkly costumes.

My observation, minus opinionated bullshit, is basically: everyone's going electro. Fashion shifts suddenly and irrationally and with a great deal of hypocrisy. But I bet you knew that.

Kaiser Chiefs @ Birmingham NIA, 24/02/09

2009-02-25T10:40:00.000-08:00

This was the first time I saw a band here, quite amazingly considering I go to pretty much all my gigs around Birmingham. It is half way between a medium venue like the Academy and a stadium - a little bit more standing room and a lot more seating. The first support band were a band called Esser. The lead singer, a man with a sparkly black coat and a Mohican, had a throat infection and kept telling us about it. I don't think they would have been much better if he hadn't been ill. It was ultra-fashionable electro-indie-pop, like Embrace with more synths or Hadouken! with less talent and anger. It was dull but not terrible.

The second band on were Black Kids. I was expecting the worst because I have never liked them on the radio, always found them a bit forced and soulless, but they weren't too bad live. They were well-drilled, and I'd imagine if you liked that stuff, you'd have been satisfied. But I don't like it, so I was bored. Between them and Kaiser Chiefs, some very unusual characters came on stage, dressed in white labcoats and mechanics clothing, measuring everything and ticking fake admin sheets on clipboards. Cue much cheering and laughter.

Finally, Chiefs took to the stage. They launched into Spanish Metal and everyone started fangirling (or fanboying) about Ricky's weight loss. He was energetic as ever, running all over the place and motioning to the crowd to cheer. They played a great set of old and new material, a nice mixture, that I can barely remember due to moshing and enjoying myself...Na Na Na Na Naa was definitely in there, and Never Miss A Beat, You Want History, Half The Truth, a beautiful electric version of Love's Not A Competition, Saturday Night, Ruby, Modern Way, I Predict A Riot followed by Take My Temperature where he went round the crowd and stood on a podium near the back, and it ended with The Angry Mob. After that they did an encore of Tomato In The Rain, something else and Oh My God, a very fitting end to the night. I am glad it'' back there where it should be in the setlist.

It doesn't matter what you think of their recent releases, it's hard to deny how good they are live. Everyone left sweaty and very happy, and I must say, it was the best gig of the year so far.

The Last Of The English Roses, Peter Doherty

2009-02-22T13:32:00.001-08:00

So, Pete is finally getting round to releasing that anticipated debut solo album, and this is the first single, to be released on March 9th in the UK? Brilliant! I bet it sounds like The Clash gone acoustic-folk with worse vocals.

Well, I was kind of right. The song opens with surprisingly electronic noises and slightly off-beat drum machine, not like Peter's previous efforts with either of his bands. It uses fairly simple chords which make you want to sway slightly and hum along. The voice comes in and it's recognisably Peter, completely void of saleability and yet perfect to give everything a bit of originality and edge. The vaguely poetic dystopian lyrics are what we've grown to expect from Pete Doherty; "She almost spilt her lager toasting girls of great beauty" and "You were slapped by that slapper and how we all laughed, but she laughed the loudest" for instance, have a certain charm in their simplicity, and when sung in that not-very-tuneful but endearing way that Doherty has down to a tee, they paint a vivid picture.

After a minute or so, it becomes a little repetitive, and the chorus is a let down after the build-up: it just continues to plod in major chords and the rather interesting homoerotic vibe is killed with a 'she'. (I'm certain he says 'coming out, coming alive' at one point, see, and there is gay kissing in the video. I'm not making it up, see for yourself.) It fizzles out in the end without really doing much, though it was a nice listen throughout and didn't get too dull after 3:54.

Overall, I like the song, I'd say 7/10, for the unusually relaxed tempo, good lyrics and memorability. However, I hope the upcoming album ('Grace/Wastelands', out in the UK March 16th) has more passion and grit to offer than this track, because to be honest, it's a bit...well...nice. A bit Radio 2.

Scarlet Harlots @ The Rainbow, 16/02/09

2009-02-17T04:47:00.000-08:00

The evening started badly while queueing, with me knocking over a metal barrier in the street, and the sound of its falling over reverberated across what must have been the whole planet.

I've never been to The Rainbow before. It's in Digbeth, and like the Barfly a little further up, it is scuzzy as you can get before you just don't want to go in. You can't say it isn't atmospheric though, with fairy lights and ceiling beams and tiny corridors really not suited to a heaving music venue. I liked it and I'm looking forward to a better gig there.

It was packed, and with all the worst of people. I don't think there was a single music lover in the place - they were that breed of teen that the NME writes for: squealy things wearing too much make up and short skirts, carrying bags full of whatever drugs and booze they could scrounge off their older siblings, wearing extremely unsuitable footwear, and only there to take a million photos of themselves in their new Gucci sunglasses, which they were, of course, still wearing in the dark of the venue. None of them looked old enough to vote, and I'm sure there were goings-on in the toilets I can barely imagine. People were actually dancing to Jay-Z remixes, as if they were suddenly cool because they were being played at a Scarlet Harlots gig. I have been to a few gigs now, and never have I been to one which looked more like a scene from Skins.

The first band on I didn't catch the name of, but they sounded like a half-baked Editors with more electronics, so I don't think I want to know the name anyway. The second band were Yelps, who I went to see, and they were definitely not what I was expecting. The synth-based angular pop actually encouraged that unnerving glowsticks-and-PVC atmosphere which was already lurking. The vocals were more approximate than they are in the recordings, and the songs were all much of a muchness. Though the crowd were having fun, I guess they were out to have fun whether the band were good or not.

I left pretty sharpish. That is the effect the 'scene' scene has on me.

A video for you.

2009-02-09T09:45:00.000-08:00

I should explain why you should love this band. While my taste is usually a lot more garage-rock-punk than Envy & Other Sins, who create what can only be described as excellent pop, Envy have stolen my heart and could easily steal yours. They won an essentially average talent competition called Act Unsigned in December 2007 and have been teetering on the brink of success for the past year; Polydor, who they gained a contract with after winning Act Unsigned, seemed to pay very little attention to them despite their obvious saleability (quirky clothing, intelligence, a great work ethic, catchy songs, a good dynamic as a band, talent), maybe because the talent show hung over Envy's name like a contagious disease and no-one seemed to want to touch them for fear of sacrificing their credibility. Zero advertising will add up to very few sales: the music business is built on advertising, and with a bit of it, Envy would now be 'big'. But no - they had to stick to touring 200 venues with very few album sales and yes they filled many of them, but those numbers dwindled and their fan-built forum struggles to keep afloat with 30 members. They are good enough for so much more. They can write proper pop gems and are masters at weaving traditional rock instruments into the pop framework. They make upbeat, modern, intelligent pop-rock and it's such a shame if you miss it because of their record company's indifference.

I've seen them six times live and once playing Pheasant, an ingenious cross between football and tennis, in a park with no public toilets. Six is a small number really, considering some of the Kaiser Chiefs fans I know who have seen Chiefs over fifty times. However small, it is my claim to them, along with keeping in contact with them over MySpace and having been onstage with them once doing their light show. I like to think, however audaciously, that Jarvey, Ali, Jim and Mark are friends as well as being in one of my favourite bands. They cheer me up musically and simply by perpetually being a part of me, as a live show in the future or memories in the past.

They aren't The Beatles, but they're ten times most of the local scene around where I live now. There are a million copy-bands struggling in the wake of Oasis and The Libertines, and Envy & Other Sins break free of that shit-quality-but-it's-okay-because-that's-the-way-the-Gallagher's-recorded-it mould that so many bands fit into.

Just watch the video and click on their name in this post, please? I don't know who is reading this yet, but hopefully someone will heed this call and we can get Envy to one more listener...they deserve it. Besides, check out that lead singer. ;)

10 Songs I Love Right Now - 3/02/09

2009-02-07T10:25:00.000-08:00

Franz Ferdinand - The Fallen

This is a great one to kick off with. The riffs in this song are turbo-charged, and there are loads of them. Besides this, the great lyrics: "So they say you're a troubled boy, just because you like to destroy all the things that bring the idiots joy, but what's wrong with a little destruction?" And it has a la la section! No pop rock song can be complete without a la la hook. Oh, this song - how can it not give you an angry high?

Sonic Youth - Dirty Boots

This song takes a while to get going, starting with those sultry chords and characteristic raw guitar noise, and then the brittle vocals, atmospheric and unsettling. It's repetitive and absolutely mesmerising. It builds up half way through, until suddenly it rocks out into this maddeningly irresistable chant of "You got your dirty boots!" over the backing and then fades out into soft, gentle strumming. Heaven.

The Clash - The Guns of Brixton

I couldn't decide whether to include this or London Calling, but everyone knows London Calling, so I decided to put this in instead. It's dark and it was so new when they released it - this fusion of reggae and rock, with those almost comic sound effects and samples. It captures a moment in time so perfectly; seventies London, down and outs being hunted down by the racist police, taking sides to survive.

Babyshambles - Fuck Forever

Of course, the Babyshambles versus Dirty Pretty Things debate...I'll just add my two pence. Pete had the talent and the poetry, while Carl had the passion and the technical skill, in my opinion, although of course it's more complex than that. Neither follow-up band is good as The Libertines, but Babyshambles are better than Dirty Pretty Things. It's sad to think that the latter are gone now, as they did have something, but not quite the something that Babyshambles have. Take this track, Fuck Forever. He is just a master of choruses, no? This is not to be mistaken for background music; asymmetrical bar layouts, out-of-tune shouting and most of all, great great lyrics.

Blur - London Loves

Parklife gained Blur their fame, though it is a little clean for me. This song is a standout though. The slightly on-edge synths and Damon's mocking, neutral tone. The chorus I especially love about it. The harmonies just work so well, and the way he puns on misery and mystery, and the last line which always trails so poignantly into the next chord sequence...

Sucioperro - The Drop

The Drop is not the best on the album Random Acts of Intimacy in my opinion, but it seems to be the one I'm listening to most. The beautiful guitar playing throughout, and the lovely lyric "The days fall slow, like summer rain" I just want to listen to over and over again. When it breaks down at 2:50 as well, into a softer quieter bit - that's pretty. Very pretty.

Babyshambles - A'Rebours

A'Rebours is a deliciously upbeat track, especially that bassline which comes in at the very start and dominates the rest. I love bands who make liberal use of tambourine. Also here, I know this is cheating, but I'd like to say 8 Dead Boys is worth a nod. It's Hellishly angry, clearly a jibe at former bandmates of Peter Doherty, but the guitar licks are very well-played and the emotion in it is so wonderfully breakable.

The Stranglers - No More Heroes

Yes I've been raiding my mum's CDs again, and yes I liked it. No More Heroes is a synth-punk masterpiece damning idolisation - or is it the words of a dissolute young man who has found all his heroes to be fools? A young man whose heroes have failed him? Of course it is told from a disdainful third person view, making it even more sneeringly great.

The Libertines - Never Never

Is there anything happier than a ditty driven along by typical chords and a metronome? It's one of the little things I can never pin down, why a happy song like this sounds so happy - is it the major chords, the lyrics about friendship, the unusually great singing for Pete Doherty, or the little drum solo at the end? I don't know, but it really is so uplifting, and if you like the Don't Look Back Into the Sun side of the Libs, really check this out. "I'm still lining them up and knocking them down with you." ♥

Levellers - Three Friends

This is my soothing choice - a soft, eerie folk song with a twist, it starts calmly, slowly, with instruments humming and an inverted dialogue of whispering in the background. It's the bass and the fiddle which do it for me: they are at odds, spooky, and give the relatively regular melody of the song a real edge. Looking for a more upbeat, political Levellers song? No? Well I s'pose you should be. See Social Insecurity.

I had the audacity to put way more than 10 song references in there. Oh well. I love all of them. Take a look, as ever, they are all worth a listen or ten. Hope you're having a good 2009 so far, wherever you are.

10 Songs I Love Right Now - 23/12/08

2009-02-07T10:23:00.000-08:00

The Cribs - Fairer Sex

This song is a Cribs B-side, and though I might be hearing the uninitiated screaming, how could the B-sides be any more underproduced than the albums?!, they manage it and it makes them even better. The raw, well-played guitar, especially in the soft chorus section, just knocks me out. On top of this, could Gary sound any more vulnerable with those lyrics and that voice?

Dirty Pretty Things - Deadwood

The little guitar solo that appears a few times in this song is an absolutely perfect thing to wake you up and cheer you up. With Dirty Pretty Things playing their last ever gig a few days ago in London, I felt it necessary to put a DPT track in here, and Hell, this is a VERY good track. It's hyper, well-written and you can't tell me it's not about a certain Mr Doherty in concept at least.

Sonic Youth - Reena

From the most recent of twenty albums (!), Rather Ripped, Reena floats along, carried by a brilliant dizzy riff and ambiguous lyrics about a new 'friend' who showed the breathy singer how to 'live in the end'. It's very beautiful, and it hits a chord with the dreamer in me. It is a very pretty, uplifting track.

Idlewild - No Emotion

No Emotion is a gorgeously melancholy and melodic track which you can play when you're happy or sad, because it spans such a huge range of emotions. The lyrics and some of the melodies are quite sad, but the playing is exuberant and aggressive and the vocals are often quite uplifting. Competing to get in here as well was In Competition for the Worst Time which is a brilliant song containing the lyric "In competition for the worst first line I could use in conversation for the first time". The internal rhymes in there are genius. ;)

Janis Joplin - Down on Me

This has to be one of the most uplifting of Janis Joplin's tracks. The version I've got is a live one, and that she could pull off that skill in her singing live quite bemuses me. It helps that the pretty conventional 60's backing with raucous guitars and jazzy bass is brilliantly played too.

Radiohead - Subterranean Homesick Alien

While the progressive giddiness of Paranoid Android is the most startlingly enthralling on OK Computer, I have recently been very impressed with this track. It's soft guitar entrance is just the most wonderful thing, and is followed by a witty but rather sad description of what humans would be like from the opinion of an alien (Think the Savage from Brave New World seeing humanity after he's let loose).

Robin Williamson - Black is the Colour

Suddenly this harp-endowed love song holds more meaning for me. I think you have to relate to love songs, but even if you don't, this masterpiece of harp playing and beautiful story about a lost love makes lovely listening. He was in The Incredible String Band...remember? Hmmm, maybe not.

Sonic Youth - Rats

I have been obsessed with this song for about 2 weeks. It's dark, sultry intro with cross-rhythms and raw guitar distortion sends a shiver down my spine. Then when the vocals enter, deep, angry and saying the most wonderfully paradoxical lyrics, I am just lost. I showed my friend and she said it was amazing how he managed to sound so hurt. "If you're ever feeling low down in the fractured sunshine, I'll help you feel the noise" is a very very atmospheric lyric indeed. In fact, 'atmospheric' sums up the song.

The Specials - Little Bitch

Ska passed me by a bit, probably because I wasn't born. This track sums up The Specials so simply - you can hear rock in the intro and then it breaks into goodtime reggae. It's also a great angry and mocking track; the chords in the intro are great, and then the nasty lyrics and shouting of 'ONE TWO!' and of course 'I know you know you're just a little bitch!' make the song.

Suede - Can't Get Enough

This sounds like a lost Britney track: you know, the one which all the rockers secretly like but won't admit to it, dance around the bedroom to but turn it off when their parents come up the stairs. The best thing is that you don't have to turn it off because it's under the guise of being a nineties Britpop track. Get that hairbrush and start spinning round that room.

Thanks for reading...and please do have a little look at the songs, they are all very good. Have a great Christmas if you celebrate it, a great New Year too. Consume too much alcohol and listen to too much music - too loud. ;)

10 Songs I Love Right Now - 1/11/08

2009-02-07T10:20:00.000-08:00

The Animals - I'm Gonna Change the World

This track was very ahead of its time in the late 60s with the lyrics "No more black or white, no more left or right". It is all most identical in tune to It's My Life, though the sentiment is slightly different. The main idea is 'I have a thinking mind, I know how to make the world better, I'm going to change it.' and it's very uplifting even if it was written in a different society to today's. It's My Life is just as uplifting, if a little more teenage and angry.

Babyshambles - Carry On Up The Morning

Perhaps Pete Doherty has had a hard time of it recently in that he is persistently getting judged for his extra activities outside of his job as Britain's most poetic songwriter of the present day. Listening to this song, you stop caring what he does in his free time, it is such a good song. Containing the immortal line "In the morning where does all the pain go? Same place the fame goes - straight to your head", and other great lines, it is an enthralling song with a truly moving melody.

Biffy Clyro - Muckquaikerjawbreaker

Oh the glory of this track. Half of it is just experimental guitar work, but it has some bits in it which are very powerful. The lyrics are the usual Biffy-type lyrics - abstract and linked to some relationship somewhere, but they are nice and the melodies are lovely. I thank thekillingspree very much for sending me this free. Thank you.

Franz Ferdinand - 40'

This song has a great catchy riff as an intro, which immediately gets your foot tapping, and then it launches into edgy, quirky Franz brilliance. My interpretation of the lyrics is that someone is standing at the top of a cliff deciding whether to jump or not ("looking down, looking down, down down again, oh 40 feet remain"). It's melancholy, the words and the harmonies, but I think it's rather endearing.

Larrikin Love - On Sussex Downs

The lyrics to this song are all about some strange trip to Sussex where the singer took off all his clothes and played in the long grass of the fields joyfully. It's postively pagan, I love it. The idea of being a wild creature one day and then tied to routine the next is both uplifting and miserable. The best thing about the track is its sheer energy and ability to get you smiling; also found in the song about frustrated transexuals - Six Queens.

Kaiser Chiefs - Half The Truth

Half The Truth is so fun. I have gone off Chiefs a little recently, and although there is still a little bit of my heart wedged firmly between the steps of Billy's Bar's front porch (Elland Road) and thinking of February 2007 makes me smile, I'm not a huge fan of the new album. But this track is so so energetic, and it reminds me of Elland Road so much that I had to like it.

The Libertines - Vertigo

Piercing through the over-produced manufactured indie which was topping charts at the time, the first track from the first Libertines album was a great introduction to the amazement to come. Starting with a slightly unsettling guitar riff with absolutely no polish on it, it builds into a really down-to-Earth nearly-love song with out-of-tune vocal harmonies and almost-sexual lyrics. Hell, it deserves all those dashes.

Muse - Sober

There always has to be room for a Muse track in favourite track lists. Muse tracks are life-affirming. This one is a slightly angry and miserable personal attack on the one remaining person the singer loves, and how they 'turn on' him. It's all a bit dramatic, but hey, that's what we love about Muse, isn't it? And it's just brilliant musically, which helps.

The Specials - Enjoy Yourself (It's Later Than You Think)

This is amazing. It's old, yes, it's a bit cheesy, yes, but how uplifting is it? It contains the title line 'Enjoy Yourself, It's Later Than You Think' which has to be one of the most fun and irresponsible statements they could have made, and the ska backing music with all the instruments and voices is so entertaining, so fun. Surrender, you know you want to.

The Libertines - The Good Old Days

I'm a sucker for a good romantic story, and this, along with Can't Stand Me Now and What Became Of The Likely Lads? soundtracks the very romantic tale of the Libs' ups and downs. The chorus has some very poetic lyrics and it all sounds a bit melancholy, an emotion I relate to very much; I like it a lot.

It's funny how many more I could find in just over a month. I listen to too much music.

10 Songs I Love Right Now - 28/09/08

2009-02-07T09:54:00.000-08:00

Biffy Clyro - Buddy Holly (Weezer Cover)

I actually heard this cover before I heard the original. I assumed that the original would be pretty out there too; I went looking for it and found a sweet American pop song. Biffy have magically transformed this track into something very impressive. Built around ridiculously complex time signatures and shifting melodies, this is an amazing musical masterpiece. Then the Scottish voices singing the lyrics over the brilliance, following the original tune but fitting it very loosely around the backing just make the song what it is. They made it better. Obviously I'm biased, Biffy being my favourite band, but seriously, this would be a good cover either way.

Envy & Other Sins - Help Yourself

This song is so damn happy. I bought it on the Prodigal Son single at a gig in Stratford, a self-released venture by Envy & Other Sins which didn't really get anywhere, but which is really quite brilliant. Two days afterwards I fell madly in love with them on stage at Birmingham ArtsFest, and for days after that I was playing Help Yourself on repeat in blissful retreat from the world around me, and for that time I was happy. So it's a happy song for me now, very happy.

Caetano Veloso - Irene

I can't explain my love for this song very well, it's all emotional. For a start, it's my dad's music, which brings an element of guilt into it for me, but I can't deny how great it is. It's a love song with quite melancholy lyrics (when translated from Portugese) but the tune and the rhythm is so uplifting and cheerful. It makes me want to skip down the street, it's so beautiful and carefree.

Radiohead - Planet Telex Ah Radiohead. I suppose I'm late to discover Radiohead - it's not my fault I was born at the wrong time! This song is everything at the moment, eerie and sad but also perfect for encapsulating everything I feel. "Everything is broken." It's a dreary lyric, but it fits my mood - the rest of the words are generic enough to capture hundreds of people's feelings, but specific enough to feel like they apply to me only. It's set to very moving music too. My Iron Lung is also capable of this, the funk-rock heaviness towards the end giving me something to mosh to in my front room. Love.

Blur - Wear Me Down

This song is a bit dull to be honest. It's a twisted love song with sweet but predictable melodies and very little lyrical or rhythmic interest. But it's sexy, I suppose, the sleepy, deep vocals compelling and disobedient; the song is gorgeously morose and angsty, and when I don't want to hear something happy and I don't want to hear something sad, it's the perfect compromise. Damon's voice always gets me too. It's special.

Flight of the Conchords - The Most Beautiful Girl (in the Room)

I don't know, this song is just hilarious. The lyrics are hilarious and very cruel ("You're so beautiful like a tree or a high class prostitute, you could be a part-time model but you'd probably sitll have to keep your normal job"), but beneath them there's a very sweet tinge to this song which makes anyone with half a heart go 'awwwww'. He really seems to want to be with this girl, just has no tact whatsoever. It's cute and sweet and outrageously funny.

Biffy Clyro - Stress on the Sky

I love everything about this song. I love its name and its lyrics and the cover of the album it is on (Blackened Sky) and its screamo patches and quiet patches, its intro and its beautiful harmonies, and most of all I love the quiet, considered riff after about a whole minute of heavy guitar and aimless shouting. This song is tied to a very depressed few months in my existence, and whenever I listened to it, it took the world off my shoulders and made me sink into bliss for 4 minutes. The need for that has passed now, but I cannot help but feel a ridiculous attachment to the beauty of it.

Blur - Blue Jeans

This song is a very pretty melodic slow one about the mundanity of modern life (Blur's favourite topic) but I find it more attractive than others they have done of the same type. It brings up images of a failing relationship, going so well, so much love being lost to a tide of boredom and repetition. The chorus has such lovely harmonies and melancholy sweetness. It's an emotional sigh of a song.

The Cribs - Baby Don't Sweat

It's mostly the intro to this song which makes it great. It's sexy and raw and the whole track is upbeat without being too upbeat to listen to when you are miserable. It's simple but attractive, and best of all, I can play it on my guitar!

Marmaduke Duke - The Beaver and the Rabbit

Finally, Marmaduke Duke. Simon Neil's side project, I was bound to like it really. This song is angry and it doesn't fit into any of the usual structures songs have. There's no time signature that you can stick to, it's always morphing, the guitar work is simply amazing, and while the screamo bits are almost TOO experimental, it works. Stunning moments of harmony puncture the very hard and rough tune and it's impossible to listen to it without an open mouth.My 10 tunes of right now, explained.

Go and listen, go and explore, they are all mind-blowing.

Christening

2009-02-06T14:50:00.000-08:00

I am intending to use this blog as a way of archiving many of my Last FM journals (especially my '10 Songs I Love Right Now' lists, which are my pride and joy and so I do not wish them to get mislaid in the vast universe which is the internet), and blog specifically about music. I'm hoping to do live reviews, album reviews and write down those little emotional explosions I have when I'm listening to music.

I am also a loyal LiverJournal blogger, though that's all "Daily life - ain't it shit, man" stuff, nothing like the emotional mess I am planning to get into here, over music.

The title of this blog comes from a Libertines song of the same name, and I thought it appropriate considering my attachment to music, night-time and The Libs themselves.
If you wish to hunt me down for any reason, search KCKate or ItMustBeKate, or Kayte - so basically you won't be able to find me. :)

Anyway, I'd love some sort of attention, I'm extremely predictable like that: have a nice day and don't forget to come back sometime in the near future for stuff about music, yes?