After studying Marketing in Music, and being in a band that wrangled with the ugly music industry myself, i think I'm one of thousands that could see this happening, and it's a pleasure to witness true musical evolution that makes such good sense for ease of use, quality, sentimentality and the collector factor in us. Goodbye CDs, and fuck you for wasting 20 years!
http://blog.wired.com/music/2007/05/lpmp3_the_ultim.html
30/04/2008
23/04/2008
Listen to...
Jesse Sykes and the Sweet Hereafter - 'Reckless Burning'
I got this about four or five years ago whey i was going through my dark Alt Country phase, along with The Handsome Family, Damien Jurado and Grey Delisle. After hering her perform so astoundingly on the Sunn0)))/Boris CD, I dug this LP out and it's amazing, so fragile, stripped and although completly steeped in it's context, sounds so fresh.
Just got to pick up the new one on Southern Lord now!
http://www.jessesykes.com/
I got this about four or five years ago whey i was going through my dark Alt Country phase, along with The Handsome Family, Damien Jurado and Grey Delisle. After hering her perform so astoundingly on the Sunn0)))/Boris CD, I dug this LP out and it's amazing, so fragile, stripped and although completly steeped in it's context, sounds so fresh.
Just got to pick up the new one on Southern Lord now!
http://www.jessesykes.com/
Term 5
You Love this, so much
Music and the Summer.
Today, while supervising my 6th form students in study time, I was rocking ‘Everything all the Time’ by Band Of Horses. This is a record I totally rinsed this time last year just before my trip to ATP to see their first UK show. There was a bunch of other stuff going on in my life at that time, and it’s been one of those situations where the sound of a record brings back memories, feelings, and an almost subconscious awareness of how it felt to be me a year ago.
It’s an age old observation, but one I’ve always been fascinated with, records that become fused to times, places, events and emotions in our own lives. Around the same time, I was hammering ‘We Were Dead Before The Ship Even Sank,’ by Modest Mouse, ‘Nebraska’ by Springsteen, The last Micah P Hinson full length, and they have become inherent to that period in my life; to the point where I lost interest and stopped playing them, and when I did spin them, they bored me, but today, something struck that chord that brought it all back… maybe the break was what I needed? Maybe I merely needed to detach myself from the events that shaped me a year ago?
The records are always part of an emotionally and mentally turbulent time it seems too; Break Ups, Falling in Love, the loss of a loved one, stressful and transitional times at work or while studying, and this really blows my mind. It seems as if our minds, senses and memory functions are working over time at these points to significantly remember trivial things that accompanied the events. Why?
I tend to find that I learn the most when I’m passionate about something, be it positively or negatively, willing or not; I take the most on the long run, from situations that make me address my conduct, my life, my efforts, my relationships and the things that continue to help me move forward.
Does the soundtrack to these events help us to remember? Does is put emphasis on the important times? Does it help us be philosophical, logical and objective? Does it merely remind us to be so?
Whatever really, whether it’s Band of Horses, The Smiths, Azure Ray or Old Man Gloom, they are truly that records that have helped define and emphasize memorable points in my life, as well as kick the massive ass. Amazing.
Music and the Summer.
Today, while supervising my 6th form students in study time, I was rocking ‘Everything all the Time’ by Band Of Horses. This is a record I totally rinsed this time last year just before my trip to ATP to see their first UK show. There was a bunch of other stuff going on in my life at that time, and it’s been one of those situations where the sound of a record brings back memories, feelings, and an almost subconscious awareness of how it felt to be me a year ago.
It’s an age old observation, but one I’ve always been fascinated with, records that become fused to times, places, events and emotions in our own lives. Around the same time, I was hammering ‘We Were Dead Before The Ship Even Sank,’ by Modest Mouse, ‘Nebraska’ by Springsteen, The last Micah P Hinson full length, and they have become inherent to that period in my life; to the point where I lost interest and stopped playing them, and when I did spin them, they bored me, but today, something struck that chord that brought it all back… maybe the break was what I needed? Maybe I merely needed to detach myself from the events that shaped me a year ago?
The records are always part of an emotionally and mentally turbulent time it seems too; Break Ups, Falling in Love, the loss of a loved one, stressful and transitional times at work or while studying, and this really blows my mind. It seems as if our minds, senses and memory functions are working over time at these points to significantly remember trivial things that accompanied the events. Why?
I tend to find that I learn the most when I’m passionate about something, be it positively or negatively, willing or not; I take the most on the long run, from situations that make me address my conduct, my life, my efforts, my relationships and the things that continue to help me move forward.
Does the soundtrack to these events help us to remember? Does is put emphasis on the important times? Does it help us be philosophical, logical and objective? Does it merely remind us to be so?
Whatever really, whether it’s Band of Horses, The Smiths, Azure Ray or Old Man Gloom, they are truly that records that have helped define and emphasize memorable points in my life, as well as kick the massive ass. Amazing.
15/04/2008
Easter Holiday
I spent last week in Leeds for my girlfriends birthday. For the ridiculously long drive there, I made some new CDRs as my iPod FM Broadcast thing is shit. I got a copy of the new Kills record Midnight Boom, Which i was pretty excited about as the previous two albums were wicked nice. I love the way the new record sounds, it has this thickness that the last two records have almost hinted at, but never really achieved. The new drum machines sound thuddy and dry, which sound good as fuck on my home system, but my poor 106 speakers were just breaking up at a mid volume. The bass tones reminds me of an attempt at some weird 70s or 80s disco or dance effect, and this idea seems to be carried through on some of alison's vocals, with the duel takes and hollow reverbs... The guitars, are, as ever, the star of the show. Jamie's attention to tone is second to none, its the main reason I love this band so much. His regular disgusting down tuned riffs are, as time goes on, losing the blues, and at points, he drowns them in revolting old flangers, chrous and all other manor of effects he can turn up to ten... This record is definitely not about being subtle.. and thats a good thing... but do the songs justify the destroying recording? Well I like the songs, sure, but i get the feeling they are not going to last with me as long as the songs from 'Keep On Your Mean Side,' a record still heavily rotated, more so than 'No Wow.'
With the loss of the blues element in every song, the bulk of the album seems to be reasonably run by the book of sleazy, 80's influenced rock/pop(See Black Balloon and Hook and Line), 'Cheap And Cheerful' and 'Getting Down' are notable exceptions, and clear stand out tracks here.
I also had a copy of the new Goldfrapp record. Its a pile of shit, folk tinged or not, massive wank.
And upon my return last night, Burrows played me the new Sebastian track 'Motor' FUUUUUUUUUUUUUUUUUUUUUUUCK!!!!!!!!!!!
Also been spinning Dave Hanks various tracks from his various projects... Both Whistle and Star Power are outlets that demonstrate him as not only a stunning song writer, but something of a clever bastard in the recording department. Both guises sound straight from the mid sixties, for fans of Donovan(Whistle) or The Kinks(Star Power), almost, a rock and folk split personality, and its his keen ear for recording techniques that dazzle, pop sheen, bright tones, bass cuts... love it. These tracks would suit most Anderson influenced visual work you could find this year..... Miss this hidden gem at your peril!
27/03/2008
Heavy Music, UK, 2008
In Summer 2007 I decided to leave heavy music behind. I had become unconfident in my own writing skills, frustrated with audiences and bands alike. The general tone impressed upon me was that of complete apathy. Cliché as this may sound from a guitarist in a hardcore band, I felt as if I was banging my head against a brick wall.
Band such as Botch, Converge, Coalesce, and later on Hot Snakes, The Cure, Mogwai and Cursed really inspired me to take a done genre and fuck with it until it was unrecognisable. By this I mean I sacked off song structures, chorus and verses were banned, and it got to the point where heavy guitar gain and typical ‘hardcore’ or ‘noise’ conventions such as breakdowns, two-steps, spazzy parts etc just felt so done to us. By the end, our experiment was in pure dynamics and tone. At the time it felt all in vain. No one seemed to get it. Certainly the sales of our full length reflected what people thought, and we parted ways with our record label. They were undoubtedly disappointed with Dungeness’s reception, and we were frustrated with anyone that ha anything to do with the release.
Frustration, arguments, friends becoming celebrities and a forgotten single later, we broke up. But in the last few months, there seemed to be a flutter of genuine activity in the UK. We planned to release our next project on Holy Roar, a label with an outlook as close to our own as we could hope to meet. They also announced the release of a split by two new, young bands, Maths and Throats. These bands, both with average ages that just about touch 20 by now probably, completely blew my head off. Throats, based in London, rip seven shades of shit from a twisted version of Hardcore, fusing the desert dry riffs and tones of Jane Doe, with the sentiment and mood of Cursed. But the difference between them and most bands from our fair island, is that they convince me. They have the context and ferociousness that our US counterparts have been schooling us all with for the last 15 years. Speaking with them also, their love for old valve tone, massive evil riffs, but taken out of the metalcore context, and obvious need to just play as loud and aggressively as they possibly can, I have a real affinity for these lads.
Similarly, Maths, from the East Midlands, are shredding their way through the Ebullition sound of the mid to late nineties. Certainly, this band has more of a retro sound, as you can pinpoint the scene that has influenced them, but again, it’s their attention to detail. It’s less plagiarism, more perfect revivalism, in a different time and a different place. They are making the link from legendary bands like Orchid and P99, and just making it sound so relevant to the UK now. Its like the breath of fresh air I’ve been waiting for.
This seems to be a slight epidemic, and bands such as Orchards, Crocus, Queen Of Swords, Rolo Tomassi, Dead Swans, Lovvers and more are really showing that UK bands can have the salts to go head on with US bands. It’s enough to spur me back into heating the valves a bit more this year!
Band such as Botch, Converge, Coalesce, and later on Hot Snakes, The Cure, Mogwai and Cursed really inspired me to take a done genre and fuck with it until it was unrecognisable. By this I mean I sacked off song structures, chorus and verses were banned, and it got to the point where heavy guitar gain and typical ‘hardcore’ or ‘noise’ conventions such as breakdowns, two-steps, spazzy parts etc just felt so done to us. By the end, our experiment was in pure dynamics and tone. At the time it felt all in vain. No one seemed to get it. Certainly the sales of our full length reflected what people thought, and we parted ways with our record label. They were undoubtedly disappointed with Dungeness’s reception, and we were frustrated with anyone that ha anything to do with the release.
Frustration, arguments, friends becoming celebrities and a forgotten single later, we broke up. But in the last few months, there seemed to be a flutter of genuine activity in the UK. We planned to release our next project on Holy Roar, a label with an outlook as close to our own as we could hope to meet. They also announced the release of a split by two new, young bands, Maths and Throats. These bands, both with average ages that just about touch 20 by now probably, completely blew my head off. Throats, based in London, rip seven shades of shit from a twisted version of Hardcore, fusing the desert dry riffs and tones of Jane Doe, with the sentiment and mood of Cursed. But the difference between them and most bands from our fair island, is that they convince me. They have the context and ferociousness that our US counterparts have been schooling us all with for the last 15 years. Speaking with them also, their love for old valve tone, massive evil riffs, but taken out of the metalcore context, and obvious need to just play as loud and aggressively as they possibly can, I have a real affinity for these lads.
Similarly, Maths, from the East Midlands, are shredding their way through the Ebullition sound of the mid to late nineties. Certainly, this band has more of a retro sound, as you can pinpoint the scene that has influenced them, but again, it’s their attention to detail. It’s less plagiarism, more perfect revivalism, in a different time and a different place. They are making the link from legendary bands like Orchid and P99, and just making it sound so relevant to the UK now. Its like the breath of fresh air I’ve been waiting for.
This seems to be a slight epidemic, and bands such as Orchards, Crocus, Queen Of Swords, Rolo Tomassi, Dead Swans, Lovvers and more are really showing that UK bands can have the salts to go head on with US bands. It’s enough to spur me back into heating the valves a bit more this year!
26/03/2008
infinite chug?
Just checking this inventive record label out now. My clever girlfriend directed me there way, and it looks really nice. Most of their back catalogue is available for download, with optional donation buttons. Thoughts on a postcard. Fuck off. Good on em.
Are record labels really as over as they say? is the future filled with bands spending their hard earned money on affordable recording equipment rather than studio time? It seems as if we, the music makers, get on with the work, we can free ourselves of the shackles ""record labels"" filled with their own self importance can go fuck themselves. I've entered 2008 with a sense of real power. I have spent a little bit of money on some half decent studio gubbins, moved in with my band, and am just about to embark on what can only be described as shameless music geek love ins. We don't have to worry about how much our label is paying on the pressing of the 2000 CDs they're making us feel guilty they're pressing in the first place! We can just record it, take our time, make it good and fucking upload it. the costs so far have been the recording stuff, which to be honest i would have bought anyway.
So really all a record label serves as these days, is a middle man between you and your PR/booking agents. Well as much as it grieves me, I will do that shit if it means there is no pressure to recoup their fucking costs...... they're never bothered about ours! I rarely felt that working with DIY record labels felt like the partnership they wanted to make out we had, as they never seemed to acknowledge that we were as beneficial for them as they were for us... fuck punk rock martyrdom.... Labels, Booking Agents, Promoters, Writers(ha!)... I have met some lovely people, and those, I try to keep in touch with, but the majority seem to be looking to be put on the thanks list of bands CDs, and get on the guest list to their big London support slots, and basically do everything they can to part of being in a band without actually getting in the fucking van.
Of fuck it, as if thats ever changed since time began, or as if it will ever change. Fuck you.
18/03/2008
I'm old
I just this minute watched a group made up of year 10 and 11 ladsin the live room. Song 2 meets Kurt Cobain vocals... arguments over who wrote it.... Aimless lead guitar, needless double kick, Ibanez and Fender rip offs........ Oh to be 16 again.......
This week has been littered with conversations filled with conspiracy theories and opinions about The Dewsbury Case, Michael Jackson, OJ Simpson and Heather Mills... there are people that are quick to believe what they read, in fact there are so many quick to have an opinion in the first place..... I have a head ache, I want to listen to Sufjan Stevens, eat my salad, and forget............
Furniture dismatlement and Record/CD collection packing beckons this evening..... I have to keep what this weekend means in the front of my mind.....
Adore by Smashing Pumpkins has been keeping me amused, Apples and Oranges is about a perfect electro pop track as i could ask for today.....
This week has been littered with conversations filled with conspiracy theories and opinions about The Dewsbury Case, Michael Jackson, OJ Simpson and Heather Mills... there are people that are quick to believe what they read, in fact there are so many quick to have an opinion in the first place..... I have a head ache, I want to listen to Sufjan Stevens, eat my salad, and forget............
Furniture dismatlement and Record/CD collection packing beckons this evening..... I have to keep what this weekend means in the front of my mind.....
Adore by Smashing Pumpkins has been keeping me amused, Apples and Oranges is about a perfect electro pop track as i could ask for today.....
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