For more videos why not check out the Usual Writing Troop's 'updates page'.
Left Leaning Creativity...
03/01/2013
Cat wants a sausage
My cat Spud wants a sausage...
For more videos why not check out the Usual Writing Troop's 'updates page'.
For more videos why not check out the Usual Writing Troop's 'updates page'.
05/06/2012
Field Day and Applecart 2012 Review
2012, the year of sport, royalty, and a distinct lack of Glastonbury. What infinite joy.
On the bright side, 2012 is an opportunity for music loving festival goers to do something different; a chance to dodge the events everyone is over-hyping, avoid any traditional festival pilgrimages, and find excitement in something you never usually would.
With these ideas at heart I started my quest for fulfilling distraction at two of London's youngest inner-city festivals: 'Field Day' and 'The Apple Cart'. Could a weekend of music and comedy prove to be the perfect get away from Jubilee celebrations? Surely?
If festivals were judged on first impressions alone, frankly, Field Day would suck. The organisation behind getting people into the festival site was shocking. People were queuing for hours to collect tickets bought online, whilst those who brought cash with them on the day could pick up tickets in a matter of minutes. In short the event organisation penalised revellers for forward planning, rewarding them with delayed entry to site and diminished time to have fun. Furthermore, the security on the entrance gate was more extensive and intrusive than a trip through airport security during a terror alert whilst wearing fused underpants. My wellington boots were metal detected (yes, rubber wellies) and I was frisked. Combine the queues with the feeling your unopened bottle of water could be a criminal offence, you arrive at a pretty gloomy starting point for festival fun.
In spite of a rubbish first hour, I have fond memories of Field Day. Sure, getting into the festival was horrendous, but I'm not one for judging a book by its cover, even if the cover is particularly painful and difficult to open. For the most part, the festival sun was shining, the stages all sounded good, and the line up was diverse and exciting. I don't even recall watching a poor performance... though 'Blanck Mass' did keep staring disconcertingly at the audience.
The real reason I went to the Field Day festival was the music. So, here's a round up of the acts I watched, some pseudo-informative spiel about them, plus a few links for the more inquisitive reader:
* Blanck Mass
As his name suggests, Blanck Mass broadcasts an ambient weight of sound. A core of noise that feels almost tangible. Processed beats interplay and build over heavy omniprecent bass. Blanck Mass tracks aren't short, and evolve one subtle layer at a time. If you enjoy immersing yourself and swimming in sound you'll appreciate his work. If not, Blanck Mass might feel quite empty despite the hulk off noise he crafts.
* Andrew Bird
The multitalented Andrew Bird and company took the breezy haze in London's Victoria Park and gave it a blissful soundtrack. His latest album 'Break it yourself' is brimming with light Americana chill out, sunshine, and mellowed summery vibes. True, he might be a little clever for festival crowds who are unaware of who he is, or what he's about. Nevertheless, on a summers day it is easy to get lost in the complexities of his song writing, and mistake clouds for mountains. Highly recommended.
* Grimes
Grimes is a captivating, stylish, electro-witch - she's kind of like Luna Lovegood with a synthesiser. Though her performances can be a little short, and sometimes rough around the edges, she always leaves you wanting more. Catchy electro-pop, with a mystical ancient feel.
* Chairlift
Though at times it felt like I had momentarily slipped into the '80s, watching Chairlift was an uplifting experience (lol). Airy electronic pop with a sophisticated (even country and western sounding) female vocal. Fans of the Postal Service, and maybe even adventurous fans of First Aid Kit or the Top Gun soundtrack should enjoy.
* Beirut
A gentle and heartfelt soundtrack to summer nostalgia, with brass that gladdens your spirit.
* The Vaccines
Energetic driving surf rock... from London. The Vaccines probably got the best of any reaction I saw from the Field Day crowds with their song "If You Wanna". They're well suited to festivals, but their songs are a little bit same-y. Nevertheless, when you're in a Vaccines crowd you don't care, you just want more. The Vaccines are infectious, ironically.
* Franz Ferdinand
These pioneers of alt-indie rock still sound fresh and relevant. Sadly the weather at Field Day turned, and they were one of only a few bands who's parade got rained on. Despite the impromptu umbrella party, it was a little bit of a wash out. Unexpectedly Franz worked a modified cover version of Donna Summer's electro anthem 'I feel Love' into there set of new material and crowd pleasing classics. It is genuinely hard to imagine Franz Ferdinand putting on a bad live show.
Unlike Field Day, getting into the The Apple Cart festival was a much more relaxed affair. In fact the general atmosphere around the Apple Cart festival as a whole was more relaxed (despite the event getting a bum deal on the weather). The heavy rain could easily have left the punters bobbing (yes, like apples... poor apple puns 2 for a £1), but mercifully pretty much every stage was undercover.
Whereas Field Day felt like it was catering for cheery scensters, Apple Cart felt like it wanted to cater for families, but families preferably without kids. I reached this opinion as there were numerous tents marked "warning - adult content", I heard lots of adult language, and I saw a drag queen wearing just a wig and a liberally stuffed bikini... Super child friendly. Cynicism aside, if I was taken somewhere like Apple Cart as a kid I'd probably have turned out a lot cooler than I did; though perhaps with a latent fear of beards, jokes, loud noises, and budgie smuggling apparatus.
Ssssh! Enough chat! Who did you see? and were they any good?
* Billy Bragg
As someone who was keen not to stare gormlessly at the Queen drift disappointedly past in a canal barge over the Jubilee weekend, I was made up to see Billy Bragg and his opinions. Luckily he'd brought lots of opinions. Refreshingly he wasn't overtly militant, but rather provided a pleasant and informed juxtaposition to the blind celebration of what it means to be British. He posed some interesting ideas in his newer songs, waxed political on a number of topics, whilst all the while commanding the stage and being fun. The great thing about Billy Bragg is, whether you are sympathetic to his views or not, his lyrics are often deceptively clever and he sparks debate. He also sometimes brings balloons.
* Charlie Baker
I saw him, that tappy man. He didn't say much 'cos he was comparing the comedy tent. He was there though, and I guess worthy of some sort of note? What do you mean, no?
* Sean Lock
The prospect of seeing Sean Lock excited me a lot. He just sort of ruined my illusion of what he'd be like when I actually saw him perform. He was good, and I'm a fan of his mild surrealism and tangent loaded comedy. Yet, it seemed he indulged a little too much in the cheap laugh. I laughed lots throughout his set, but perhaps once too often with a sense of guilt, that feeling of: "am I condoning this view by laughing?" Maybe that was his aim, to co-opt an audience into illogical or un-held world views by means of a 'shock laugh'... Maybe it wasn't. Maybe I should have thought less, and laughed more at the funny man. Its clear his material is grounded in intellect and interesting notions, but I can't escape thinking his set did feel a little too comfortable with easy social, gender and race stereotypes. His material sat on an a blurred border, somewhere ambiguous between observational and critical humour. I'd go see him again, but perhaps as much to understand what I'm actually laughing at, as to be entertained.
* Beth Jeans Houghton and the Hooves of Destiny
Harmony heavy, arty folk-rock music. A little on the marmite-y side. You'll either love it, or just never buy it.
* Rich Hall's Hoedown
Essentially the renowned comedian Rich Hall and his troop of musical friends play ditties with a humorous twist. The music is pretty darn tooting, and I really enjoyed their rendition of 'Kung Fu fighting'.
However, the Hoedown version of 'Bitches Ain't Shit' didn't sit well with me. Not because it's unspeakably rude. I'm fine with that. Rather, it is my understanding that turning a Dr. Dre song into a piano ballad was Ben Folds' joke? I'm not saying no-one else should cover the song in this way. What got me was when the song was performed at the Hoedown, the origins of the joke were alluded to yet glossed over. Almost bequeathing all the credit, rather than just the performance credit, to Rich Hall and co. Comedians fear joke theft, so I ask: do the same rules that apply to jokes, apply to the use of semi-comedy songs? Meh. I guess they should just fight to see who's is better:
* Rich Hall Vs Ben Folds
(No bias or anything, but its clearly Ben Folds... or is it Dr. Dre?)
* Cabaret: Up and Over It and Feral is Frisky
Up and Over it beat a table to an immense rhythm, with intricate choreography, whilst providing a truly enthralling 4 - 6 minutes of entertainment. Oh, and they were on that Britain's Got Talent program.
Feral is Frisky sang a bit over dance music. It was good.
* Adam Ant and the Good, the Mad and the Lovely Posse
The Dandy Admiral, Captain Jack Sparrow... There are many names you could give to Adam Ant based on his appearance nowadays. However, they would all be mightily unfair and cruelly miss the point. The guy, and his band put on a mighty fine show. Ant's dress sense just ads to the experience. Listening to the band's two drummers playing in unison is utterly amazing. The only blip I saw in their performance was a minor crowd participation fail during Prince Charming, which, in fairness is quite a difficult song to sing anyway. I was genuinely taken aback by how good they sounded.
* Gilles Peterson
The 6 music maestro played some tunes.
* Josh T Pearson
Josh T Pearson is a difficult character to summarise succinctly. He came across as genuine, polite, funny, and endearing. Its evident he can control a crowd whist remaining quiet and softly spoken, yet, he's also powerfully charismatic, and can hold a commanding presence on stage. Against the odds of a noisey festival, full of noisy people, Pearson forged a mood of serenity and calm. The heavy evening rain beat rhythmically on the festival tent whilst he performed, adding natural texture to his haunting, chilling acoustic tones. If Pearson consistently can create an atmosphere like the one I experienced, he's definitely something special.
With these ideas at heart I started my quest for fulfilling distraction at two of London's youngest inner-city festivals: 'Field Day' and 'The Apple Cart'. Could a weekend of music and comedy prove to be the perfect get away from Jubilee celebrations? Surely?
Field Day 2012
If festivals were judged on first impressions alone, frankly, Field Day would suck. The organisation behind getting people into the festival site was shocking. People were queuing for hours to collect tickets bought online, whilst those who brought cash with them on the day could pick up tickets in a matter of minutes. In short the event organisation penalised revellers for forward planning, rewarding them with delayed entry to site and diminished time to have fun. Furthermore, the security on the entrance gate was more extensive and intrusive than a trip through airport security during a terror alert whilst wearing fused underpants. My wellington boots were metal detected (yes, rubber wellies) and I was frisked. Combine the queues with the feeling your unopened bottle of water could be a criminal offence, you arrive at a pretty gloomy starting point for festival fun.
In spite of a rubbish first hour, I have fond memories of Field Day. Sure, getting into the festival was horrendous, but I'm not one for judging a book by its cover, even if the cover is particularly painful and difficult to open. For the most part, the festival sun was shining, the stages all sounded good, and the line up was diverse and exciting. I don't even recall watching a poor performance... though 'Blanck Mass' did keep staring disconcertingly at the audience.
The real reason I went to the Field Day festival was the music. So, here's a round up of the acts I watched, some pseudo-informative spiel about them, plus a few links for the more inquisitive reader:
* Blanck Mass
As his name suggests, Blanck Mass broadcasts an ambient weight of sound. A core of noise that feels almost tangible. Processed beats interplay and build over heavy omniprecent bass. Blanck Mass tracks aren't short, and evolve one subtle layer at a time. If you enjoy immersing yourself and swimming in sound you'll appreciate his work. If not, Blanck Mass might feel quite empty despite the hulk off noise he crafts.
* Andrew Bird
The multitalented Andrew Bird and company took the breezy haze in London's Victoria Park and gave it a blissful soundtrack. His latest album 'Break it yourself' is brimming with light Americana chill out, sunshine, and mellowed summery vibes. True, he might be a little clever for festival crowds who are unaware of who he is, or what he's about. Nevertheless, on a summers day it is easy to get lost in the complexities of his song writing, and mistake clouds for mountains. Highly recommended.
* Grimes
Grimes is a captivating, stylish, electro-witch - she's kind of like Luna Lovegood with a synthesiser. Though her performances can be a little short, and sometimes rough around the edges, she always leaves you wanting more. Catchy electro-pop, with a mystical ancient feel.
* Chairlift
Though at times it felt like I had momentarily slipped into the '80s, watching Chairlift was an uplifting experience (lol). Airy electronic pop with a sophisticated (even country and western sounding) female vocal. Fans of the Postal Service, and maybe even adventurous fans of First Aid Kit or the Top Gun soundtrack should enjoy.
* Beirut
A gentle and heartfelt soundtrack to summer nostalgia, with brass that gladdens your spirit.
* The Vaccines
Energetic driving surf rock... from London. The Vaccines probably got the best of any reaction I saw from the Field Day crowds with their song "If You Wanna". They're well suited to festivals, but their songs are a little bit same-y. Nevertheless, when you're in a Vaccines crowd you don't care, you just want more. The Vaccines are infectious, ironically.
* Franz Ferdinand
These pioneers of alt-indie rock still sound fresh and relevant. Sadly the weather at Field Day turned, and they were one of only a few bands who's parade got rained on. Despite the impromptu umbrella party, it was a little bit of a wash out. Unexpectedly Franz worked a modified cover version of Donna Summer's electro anthem 'I feel Love' into there set of new material and crowd pleasing classics. It is genuinely hard to imagine Franz Ferdinand putting on a bad live show.
The Apple Cart 2012
Unlike Field Day, getting into the The Apple Cart festival was a much more relaxed affair. In fact the general atmosphere around the Apple Cart festival as a whole was more relaxed (despite the event getting a bum deal on the weather). The heavy rain could easily have left the punters bobbing (yes, like apples... poor apple puns 2 for a £1), but mercifully pretty much every stage was undercover.
Whereas Field Day felt like it was catering for cheery scensters, Apple Cart felt like it wanted to cater for families, but families preferably without kids. I reached this opinion as there were numerous tents marked "warning - adult content", I heard lots of adult language, and I saw a drag queen wearing just a wig and a liberally stuffed bikini... Super child friendly. Cynicism aside, if I was taken somewhere like Apple Cart as a kid I'd probably have turned out a lot cooler than I did; though perhaps with a latent fear of beards, jokes, loud noises, and budgie smuggling apparatus.
Ssssh! Enough chat! Who did you see? and were they any good?
* Billy Bragg
As someone who was keen not to stare gormlessly at the Queen drift disappointedly past in a canal barge over the Jubilee weekend, I was made up to see Billy Bragg and his opinions. Luckily he'd brought lots of opinions. Refreshingly he wasn't overtly militant, but rather provided a pleasant and informed juxtaposition to the blind celebration of what it means to be British. He posed some interesting ideas in his newer songs, waxed political on a number of topics, whilst all the while commanding the stage and being fun. The great thing about Billy Bragg is, whether you are sympathetic to his views or not, his lyrics are often deceptively clever and he sparks debate. He also sometimes brings balloons.
* Charlie Baker
I saw him, that tappy man. He didn't say much 'cos he was comparing the comedy tent. He was there though, and I guess worthy of some sort of note? What do you mean, no?
* Sean Lock
The prospect of seeing Sean Lock excited me a lot. He just sort of ruined my illusion of what he'd be like when I actually saw him perform. He was good, and I'm a fan of his mild surrealism and tangent loaded comedy. Yet, it seemed he indulged a little too much in the cheap laugh. I laughed lots throughout his set, but perhaps once too often with a sense of guilt, that feeling of: "am I condoning this view by laughing?" Maybe that was his aim, to co-opt an audience into illogical or un-held world views by means of a 'shock laugh'... Maybe it wasn't. Maybe I should have thought less, and laughed more at the funny man. Its clear his material is grounded in intellect and interesting notions, but I can't escape thinking his set did feel a little too comfortable with easy social, gender and race stereotypes. His material sat on an a blurred border, somewhere ambiguous between observational and critical humour. I'd go see him again, but perhaps as much to understand what I'm actually laughing at, as to be entertained.
* Beth Jeans Houghton and the Hooves of Destiny
Harmony heavy, arty folk-rock music. A little on the marmite-y side. You'll either love it, or just never buy it.
* Rich Hall's Hoedown
Essentially the renowned comedian Rich Hall and his troop of musical friends play ditties with a humorous twist. The music is pretty darn tooting, and I really enjoyed their rendition of 'Kung Fu fighting'.
However, the Hoedown version of 'Bitches Ain't Shit' didn't sit well with me. Not because it's unspeakably rude. I'm fine with that. Rather, it is my understanding that turning a Dr. Dre song into a piano ballad was Ben Folds' joke? I'm not saying no-one else should cover the song in this way. What got me was when the song was performed at the Hoedown, the origins of the joke were alluded to yet glossed over. Almost bequeathing all the credit, rather than just the performance credit, to Rich Hall and co. Comedians fear joke theft, so I ask: do the same rules that apply to jokes, apply to the use of semi-comedy songs? Meh. I guess they should just fight to see who's is better:
* Rich Hall Vs Ben Folds
(No bias or anything, but its clearly Ben Folds... or is it Dr. Dre?)
* Cabaret: Up and Over It and Feral is Frisky
Up and Over it beat a table to an immense rhythm, with intricate choreography, whilst providing a truly enthralling 4 - 6 minutes of entertainment. Oh, and they were on that Britain's Got Talent program.
Feral is Frisky sang a bit over dance music. It was good.
* Adam Ant and the Good, the Mad and the Lovely Posse
The Dandy Admiral, Captain Jack Sparrow... There are many names you could give to Adam Ant based on his appearance nowadays. However, they would all be mightily unfair and cruelly miss the point. The guy, and his band put on a mighty fine show. Ant's dress sense just ads to the experience. Listening to the band's two drummers playing in unison is utterly amazing. The only blip I saw in their performance was a minor crowd participation fail during Prince Charming, which, in fairness is quite a difficult song to sing anyway. I was genuinely taken aback by how good they sounded.
* Gilles Peterson
The 6 music maestro played some tunes.
* Josh T Pearson
Josh T Pearson is a difficult character to summarise succinctly. He came across as genuine, polite, funny, and endearing. Its evident he can control a crowd whist remaining quiet and softly spoken, yet, he's also powerfully charismatic, and can hold a commanding presence on stage. Against the odds of a noisey festival, full of noisy people, Pearson forged a mood of serenity and calm. The heavy evening rain beat rhythmically on the festival tent whilst he performed, adding natural texture to his haunting, chilling acoustic tones. If Pearson consistently can create an atmosphere like the one I experienced, he's definitely something special.
20/02/2012
An Evolution of Sound - Etta James to Skrillex
So, like me you've probably heard the same 'Ooh oh sometimes' vocal hook being recycled a lot recently. This hook was originally sung by the late great Etta James, and it only seems to be adding to her already sizeable musical legacy. The evolution of this one hook, and how it has recently been incorporated into a number of musical ideas and styes is pretty interesting. So much so, I've written a couple of sums using youtube videos to make this evolutionary process audio visual.
Yes, this exercise is possibly a bit lame, but it does highlight how modern pop music is able to spin something released in 1962 (making it 50 years old this year) into one of the freshest sounding chart successes in recent times. Having said that, maybe this hooks ability to span a half century whilst sounding timeless is more a testament to talent and great song writing, rather than a producers ability to reinvent the past. I guess if something just sounds good, it will whenever you hear it. Either way, next time I'm in a club I might just sing 'Ooh oh sometimes I get an old and familiar feeling' in protest. Well, I might if I were older, and that hook wasn't so damn catchy...
1:
Etta James - Something's got a hold on me
2:
Etta James Something's got a hold on me + Judy Clay and William Bell Private Number = Pretty Lights Finally Moving
Yes, this exercise is possibly a bit lame, but it does highlight how modern pop music is able to spin something released in 1962 (making it 50 years old this year) into one of the freshest sounding chart successes in recent times. Having said that, maybe this hooks ability to span a half century whilst sounding timeless is more a testament to talent and great song writing, rather than a producers ability to reinvent the past. I guess if something just sounds good, it will whenever you hear it. Either way, next time I'm in a club I might just sing 'Ooh oh sometimes I get an old and familiar feeling' in protest. Well, I might if I were older, and that hook wasn't so damn catchy...
1:
Etta James - Something's got a hold on me
2:
Etta James Something's got a hold on me + Judy Clay and William Bell Private Number = Pretty Lights Finally Moving
+
=
3: Etta James Something's got a hold on me + Avicii = Avicci Levels
4: Etta James Something's got a hold on me + Flo Rida = Flo Rida Good Feeling
5: (Etta James Something's got a hold on me + Avicii = Avicci Levels) + Skrillex = Levels (Skrillex Remix)
29/12/2011
Soundtrack of 2011: The Year in Review
So, 2011 is behind us, and depending on how much stock you
put in the Gregorian calendar (or maybe even Boris Johnson’s ability to safely plan
global sporting events), the best part of human history has probably passed us
by as well. All told 2011 has been
a strange year; infamous people died all over the shop, and the members of McFly found out people like them more when they’re not playing music. The population of Great Britain got overly excited as two
people they don’t actually know got married, whilst Arabia experienced the
longest spring since records began. On top of all this an American Presidential hopeful quoted Pokémon in a political speech... Progress truly is a beautiful thing.
Musically, 2011 also ended up being a bit of an odd year. Innovation
was seemingly confined to expounding upon dubstep, a genre that slowly started saturating the pop music market place at the
beginning of the year. By the end of 2011 however, chart music had co-opted dubsteps’ double time beats and wavey bass forms into a formula for
mundane and unfulfilling chart success: 'Flo Rida' anyone? What made the charts of 2011 all the more unbearable was the abundant and cheap use of sampling, often without imagination.
2011 for all intensive purposes was the year of the remix or
re-hash, depending on your sentiments. In a year in which dullards churned out
duller tunes, it was largely down to Producers to rework spoilt canvases
into something worth appreciating. Indie music provided a wealth of all right tunes, which, when revamped by
creative minds (usually adding this years bassy flavours) felt exciting; well, on first listen at least. With so few memorable tunes coming directly from the original artists themselves, 2011 proves difficult to remember fondly; it sort of
felt like one huge megamix: most of which was filler or the DJ messing around with that
phaser effect before unleashing the killer drop.
Of course, talking in generalities is dangerous, and there
are always exceptions to the broad statements and theories like those I'm spewing. In fact, I’m pretty sure over the last 12 months I have seen and heard
a number of exceptions. I'm also pretty sure I quite like remixes... So! Enough with the negativity! Here are some tunes that
did make me smile, and hopefully will make you smile as well. Furthermore, they
are neatly listed in vaguely logical and intelligible ways, so everybody wins. Except Charlie Sheen. He wins waaay to often.
POP
Regardless of your opinion about ‘Pop Music’ (the most contentious
categorisation in modern music) sometimes it is quite fun. Thus, in no particular order
here are 10 of the best ‘Pop indulgences’
of 2011:
- Madeon – Pop Culture
- 3lau – All Night Long
- Coldplay – Paradise
- Krewella – One Minute
- Olly Murs ft. Rizzle kicks – Heart Skips A Beat
- Emeli Sande – Heaven
- Group Love (Captain Cuts Remix) – Colours
- Edward Sharpe and the Magnetic Zeros (Whole Z Remix) - Home
- Mausi – Sol
- Patrick Wolf – Time of My Life
Adele - Rolling in the Deep
Katy B - On a Mission
Live Music
I was fortunate enough to see loads of live music in 2011. Not only was I
was lucky enough to attend Glastonbury for a 3rd time, I also got see a studio recording of ‘Later.. with Jools Holland’. Not forgetting the
countless gigs I managed to attend. So, below you will find 10 live highlights of 2011 with a brief and less than illuminating explanation. Regardless of the ordering, they are all definitely worth seeing if you get the chance.
Flying Lotus - Electro, but not as you used to know it
Duke - Guitar and beatbox fun
Bo Ningen - Eccentric J-Rock with attitude and a unique dress sense.
- James Blake - Bass, so much bass
- Morrisey - Still controversial, still a genius
- Queens of the Stone Age - Josh Homme = the epitome of on stage cool
- Pretty Lights - Big beat bliss
- Wild Beasts - Chilling and haunting
- Ben Folds - All round awesome-ness
- Barenaked Ladies - Showmen, and the best fun
- Dananananaykroyd - Inspired crowd control
- Bright Eyes - Amazing songwriting, only lessened by his choice of cape
- B.B King - Owner of the greatest guitar tone ever
Flying Lotus - Electro, but not as you used to know it
Duke - Guitar and beatbox fun
Bo Ningen - Eccentric J-Rock with attitude and a unique dress sense.
10 Albums of 2011
This year, just choosing 10 albums has been incredibly
difficult. In the last year (to my infinite shame) I’ve bought a lot more
digital singles, individual tracks and E.P.s than ever before. I’ve also probably
seen more music than I’ve actually bought. These two factors combined have definitely
not done my album collection any favours.
Regardless, I did buy and enjoy a good number, the highlights of which
are listed below. I’ve also put a small description, and a representative track to try and persuade you they are all really pretty good.
1) Cloud Control - Bliss Release
Chilled out, arty and down right summery Aussie vibes
Representative Track: There's Nothing In the Water We Can't Fight
2) Wild Beasts - Smother
Probably the most distinctive and imaginative outfit in the UK right now... Every track on this album is sublime
Representative Track: Bed of Nails
3) Bonobo - Black Sands
Originality and genius that remixes itself.
Representative Track: Eyes Down
4) Bon Iver - Bon Iver
Delicate composition in union with a concept
Representative Track: Holocene
5) Crystal Fighters - Star of Love
Heartfelt, tribal, and with killer bass
Representative Track: Champion Sound
6) Little Comets - In Search Of Illusive Little Comets
It's (meta)physically impossible not to smile whilst listening to this album. Its just so happy and upbeat.
Representative Track: Lost Time
7) The Naked and Famous - Passive Me, Aggressive You
New Zealander synth-pop goodness. Some filler, but the killers is twice as potent.
Representative Track: Punching in a Dream
8) Ben Folds - Best Imitation of Myself: A Retrospective
A must have for any fan, and a rounded introduction for any first time listeners.
Representative Track: Landed [Strings Version]
9) Yuck - Yuck
DIY Garage Grunge
Representative Track: Georgia
10) Radiohead - King Of Limbs
Radiohead being progressive. Again.
Representative Track: Giving up the Ghost
Worthy Mentions
Fleet Foxes - Helplessness Blues
Foo Fighters - Wasting Light
Jenny and Johnny - I'm Having Fun Now
The Horrors - skying
1) Cloud Control - Bliss Release
Chilled out, arty and down right summery Aussie vibes
Representative Track: There's Nothing In the Water We Can't Fight
2) Wild Beasts - Smother
Probably the most distinctive and imaginative outfit in the UK right now... Every track on this album is sublime
Representative Track: Bed of Nails
3) Bonobo - Black Sands
Originality and genius that remixes itself.
Representative Track: Eyes Down
4) Bon Iver - Bon Iver
Delicate composition in union with a concept
Representative Track: Holocene
5) Crystal Fighters - Star of Love
Heartfelt, tribal, and with killer bass
Representative Track: Champion Sound
6) Little Comets - In Search Of Illusive Little Comets
It's (meta)physically impossible not to smile whilst listening to this album. Its just so happy and upbeat.
Representative Track: Lost Time
7) The Naked and Famous - Passive Me, Aggressive You
New Zealander synth-pop goodness. Some filler, but the killers is twice as potent.
Representative Track: Punching in a Dream
8) Ben Folds - Best Imitation of Myself: A Retrospective
A must have for any fan, and a rounded introduction for any first time listeners.
Representative Track: Landed [Strings Version]
9) Yuck - Yuck
DIY Garage Grunge
Representative Track: Georgia
10) Radiohead - King Of Limbs
Radiohead being progressive. Again.
Representative Track: Giving up the Ghost
Worthy Mentions
Fleet Foxes - Helplessness Blues
Foo Fighters - Wasting Light
Jenny and Johnny - I'm Having Fun Now
The Horrors - skying
15 of the Best Tracks of
2011
Whilst great albums where thin on the ground, 'one-off' greats where plentiful in 2011. I am therefore proud to present, 15 of the best (in a very loose, if not irrelevant order).
- Bonobo - Kiara (with Prelude)
- Jonsi - Go Do
- Bon Iver - Towers
- Cloud Control - There's Nothing In the Water We Can't Fight
- Wild Beasts - Albatross
- The Naked and Famous - Young Blood
- Yuck - Get Away
- Metronomy - The Look
- DZ Deathrays - Gebbie St
- The Strokes - Under Cover of Darkness
- Coyote Kisses - Acid Wolfpack
- The Burns Unit - Send Them Kids to War
- Pretty Lights - Run DMC "It's Tricky" Remix
- Exitmusic - The Sea
- The Horrors - Still Life
Worthy Mentions
Jenny and Johnny - Big Wave
Radiohead - Lotus Flower
Bon Iver - Skinny Love (Das Kapital Re-rub)
Glitch Mob - Bad Wing
Jamie Woon - Lady Luck
Little Comets - Tricolour
Peter, Bjorn and John - Second Chance
Karen Anne - My Name Is Trouble
Gruff Rhys - Sensations In The Dark
Fenech-Soler - Demons
Belle and Sebastian - I Want The World To Stop
Glitch Mob - Bad Wing
Jamie Woon - Lady Luck
Little Comets - Tricolour
Peter, Bjorn and John - Second Chance
Karen Anne - My Name Is Trouble
Gruff Rhys - Sensations In The Dark
Fenech-Soler - Demons
Belle and Sebastian - I Want The World To Stop
Friends and Local Music
2011 also proved to be a productive year for my musically
inclined friends and acquaintances. A wealth of musical goodness has been
crafted by these guys 'n' gals, so do check them out:
Mausi
Hailing from Italy via Newcastle, this lot are responsible
for one of the summeriest tunes this year: Sol. Imagine Italian sunshine
trapped in a bottle of Newcy Brown (actually
don’t, that’s completely inaccurate and gross).
Grinsidious
Marrying synthpop, jazz guitar, rock and dubstep is no easy
feat, but these guys do it supremely.
His Majesty
Indie Rock as only the French Rivera can create. Upbeat,
happy, and stylish.
Oliver Corrigan
Single handedly re-writing the Jazz fusion rule book.
Emperor (DnB)
If you struggle take consume your recommended daily
allowance of bass, this guys is you’re 5-a-day, and some.
Birds Vs Planes
After rocking Radio One’s Big Weekend in Carlisle, this
Cumbrian band keep going from strength to strength.
http://www.youtube.com/watch?v=kLs1wH6TMec&list=FLvJTQN0bitt1ptlHotpZRew&index=54&feature=plpp_video
Fiona Clayton
Room full of Owls singer Fiona Clayton has had another storming solo year. Radio 1's big weekend amongst the highlights.
Rob Heron and the Tea Pad Orchestra
Proveyors of most pleasant vibes, from Newcastle Via the Lakes
Polarsets
Releasing songs through Kitsuné, this Newcastle outfit have
had a pretty grand year.
Little Comets
With an album at the start of the year, and an E.P. to close
it, the Little Comets continue to be one of the most exciting, upbeat bands
around.
Kill it Kid
With their second album ‘Feet Fall Heavy’ released this year, Kill it
Kid continue to, well, Kill it.
http://www.youtube.com/watch?v=J6HZQnyf2Fc
Outro
Now, by no means am I claiming this review of the year to be
definitive. to be honest, this review of 2011 has been more an overview of what soundtracked my year personally. This of course means I have been blissfully ignorant of lots of amazing
work, and I would love it if you, the reader, suggested bands and tracks for me to check out! I'd appreciate it lots. Truly.
For example, in
writing this review I spotted that I completely overlooked Foster the People, and PJ Harvey (admittedly an absolute travesty given the critical reception and Mercury success PJ Harvey has had). So please
do comment! I'd hate to miss anything else.
Thanks for reading, and best wishes for 2012 and beyond!
Scott
25/10/2011
James Blake - Enough Thunder - Tweeted 'First Listen' Review
Recently I have taken to tweeting my immediate reaction to albums as I listen to them, in their entirety, for the first time. I click play, let the album play through, and tweet. I haven't edited my tweets, just laid them out to read as an article as best they can.
Without further ado here are my tweets for: James Blake - Enough Thunder
I acquired
James Blake - Enough Thunder today. Time for a first listen review! #nowplaying
I've seen
Blake live, and I have his self-titled album, as well as his CMYK EP. Based on
this I've concluded he's a bit of a minimalist...Therefore, starting from now,
you will only get one tweet per tack... ready, set, go!
Once we all
agree - Blake has a unique and somewhat haunting ability to move a listener
with the soundscapes he crafts and his voice alone
We might feel
unsound - when ill fitting beats and most abrasive noise is melted by a few
strokes of ivory
Fall Creek
Boys Choir - theres a strange and talented dog playing the piano by this creek;
and Bon Iver's going with the creek's flow...
A case of you
- Soul-full, and a great demo of Blakes largely overlooked vocal ability. Some
nice imagery, but also some clichés...
Not long now
- experimental, but constructed intelligently. The chords change naturally,
whilst supplementary concepts jostle for attention
Enough
Thunder - a piano and voice accompaniment close out the E.P. The Piano travels,
and the voice follows, as thunder chases lightning
24/10/2011
The Horrors - Skying - Tweeted 'First Listen' Review
Recently I have taken to tweeting my immediate reaction to albums as I listen to them, in their entirety, for the first time. I click play, let the album play through, and tweet. I haven't edited my tweets, just laid them out to read as an article as best they can.
Without further ado here are my tweets for: The Horrors - Skying
Just put the Horror's album on. Time for a first listen review!
The first track 'changing the rain' is appropriately named. It's piddling down out side. But? what are they going to change it into? The sleeve notes don't really help me understand this mysterious practice of 'changing rain'. I'm inclined to go with rainbows. Or snow. They seem like scientifically viable options. More realistic than changing rain into DVDs, for example.
First thoughts on the Album, 1 and 1/2 tracks in. I like it, the lyrics aren't easy to follow. The vocal is definitely part of the sound. Clearly audible lyrics aren't exactly being prioritised over the general atmosphere of the tracks. They blur into the greater sound. All the tracks so far have been trippy, and full bodied. Sort of like a hippy wine might be.
Track 3, I can see through you, the intro seemed a bit Human league.
Skying so far has a very cohesive sound. No stand out tracks on the album as yet. I'm guessing the horrors wished to produce a body of work. There is a clear sound and concept flowing through 'skying'. 'Endless Blue' is the first track to challenge the image of the others.
Endless Blue has a lethargic introduction; sharp contrast to cutting guitars and an abrupt change of energy which define the tracks' body.
'Dive in' was a bit of a dream to listen to. It lets your mind wander.
'Still Life' is playing now. The only track I've heard prior to this first play. The reverse effect on the guitar reminds me of this...The Velvet Underground Venus in Furs:http://www.youtube.com/watch?v=9nGsUbZpCKM&feature=fvst The Horrors track is much breezier. It feels a Brighter track.
Got to say, 'Still life' is a very arty name for a track.
The brass in the back ground, and the build up lend Still life an almost anthemic quality.
'Wild Eyed', the next track feels much darker. I'm finding it a difficult listen, but I can appreciate the way it is changing...
Its amazing how well the Album artwork summarises the sound of the album. A wash of interplaying colours distorting an idlic vision. This is the kind of album that plays havoc with Synesthesia. It's hard to explain but, like the album cover artwork, I cannot ascribe one colour to what I'm listening to.
'Moving further away' might be my favourite so far... Only 2 tracks left. Still time to change my mind.
'Monica Gems' seems out of sorts. Elements of it are superb, then others are leaving me really cold.
'Oceans Burning', has a very progressive rock start! Didn't see that coming! Stirring thoughts of Pink Floyd in my head (too far?).
4:30mins in to oceans burning. Didn't realise it was 7minutes long! Progressive was a good call!
Here's another word I'm yet to use and feel I should: Ambient. You can tell its indie as there was not super fast guitar solo, or double bass drums...
Its' all over now, so time for a few final judgements.
I think the drums may have let the album down a little. They were a bit same-y. Thin in places.
At the same time, if the drumming was more complicated, I'm not sure it would fit. Though, thats probably a moot point. I got a little bored of the echo vocals as well, despite being pleasantly surprised by cool hair sing-y man's voice.
Its definitely music to brighten up a darkened room. The tracks are full of atmosphere, and the album is worth some attention. It's not to everyones taste for sure. If you want to try it, I recommend you darken a room. Press play, and let your mind wander. Maybe whilst wearing retro clothes and studying 80s polaroids by the glow of your light up casio watch... Maybe.
DZ Deathrays - 'Ruined my life' - Tweeted 'First Listen' Review
I have taken to tweeting my immediate reaction to albums as I listen to them, in their entirety, for the first time. I simply click play, let the album play through, and tweet.
I haven't edited my tweets, just laid them out to read as an article as best they can. So without further ado here are my tweets for: DZ Deathrays - 'Ruined my life'
Just bought the new DZ Deathrays' album... first listen time?? It's been a while... All right twitter, lets see if this band are as cool as their name! #nowplaying (and first listen reviewing) DZ Death Rays - Ruined My Life
First track, Blue Blood and straight off I'm getting that 'Death from Above 1979 feeling', and I love it. On to track two faster than the Flash can run after 16 cans of redbull...Track 2 - Licking Knives. I wonder if it was by licking knives the singer came to sound so much like Sebastien Grainger?
Track 3 - Yeah - another example of the different shades of fuzz you can put on a guitar and mix with effects pedals... darker in feel
The mess up - Track 4 - DZ have a very cohesive sound, they keep phasing from DFA to White stripes and back again... it's cool
Wow, onto track 5 faster than Sonic after over dosing on chilli dogs. This one's pace and pent up anger, brilliantly channeled.
Track 6 - the one that made me buy this E.P. Through decent headphones it's got a crushing introduction.
This steezy DZ E.P. is riff heavy; heavy being the operative...No idea where Gebbie Street is though...Google maps tells me Brisbane...
That's it, short and sweet. 6 songs, and refreshingly, none longer than 3 minutes 51.
At worst DZ Deathrays are a DFA 1979 tribute act who got bored and wrote new material. From where I stand, thats never going to be that bad.
"DZ - thrash pop band from Brisbane, Australia. Started playing house parties will most likely end at one. This is the middle part." #dudes
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