Ok, i am in the mood for some metal and extreme noise. So plug in your ears.
I believe that Between the Buried and me are the most talented band on the planet. Many will disagree, i couldnt care less. For pure technical ability and breathless use of different genres they are very hard to beat. Many people will balk at the heaviness of it, but i implore to check out their latest album Alaska (fans will noted that their latest album was actually a covers album, but you get what i mean)
Between the buried and me- alaska
You can buy the album Here
Candiria are a music geeks dream, having the talent to combine 3 different genres so seamlessly, to menacing hip hop, wallpaper peeling noise and riffy metal they have it all.
Candiria- Without Water
More noise soon.
Monday 16 July 2007
MWSIG
On a day like today, quiet, serene even. I began to think about what welsh music i would like to listen to, in work i have the gentle din of BBC News 24, but its hardly 'Live and Dangerous' By Thin Lizzy.
One band i really used to watch alot live and really miss are Jarcrew, who were from Ammanford in South Wales. I saw them play to 10 people in Newport, and hundreds of people at the Compass Point festival- perhaps the best time i saw them was in Clwb Ifor Bach with Million Dead.
They were five odd balls, who each looked like they should be in different bands. They had a real odd visible quality to them that added to their gonzo electro smudged indie- the fall with les savy fav and krautrock on a downer type of vibe.
Anyway, check them out.
Another sadly missed band from Cardiff were called Mclusky. I saw them early in their career, playing a violent, noisy and deranged set in Le Pub in Newport. They also went on to have an album produced by Steve Albini. The obvious nod to the pixies was taken with their acidic wit and nod to melody. Any band who starts a song with the lyric 'My love is bigger than your love, we take more drugs than a touring funk band' will curry favour here.
I will leave with what i think are wales best punk band. Their attitude was punk, but they also applied funk and ska into the mix. Give me these of twenty tossers with mo hawks and three chords. I really think the Ska scene, bands like Capdown, Five Knuckle and Adequate Seven are the real punk bands of the UK. RIP AD 7
Adequate Seven
One band i really used to watch alot live and really miss are Jarcrew, who were from Ammanford in South Wales. I saw them play to 10 people in Newport, and hundreds of people at the Compass Point festival- perhaps the best time i saw them was in Clwb Ifor Bach with Million Dead.
They were five odd balls, who each looked like they should be in different bands. They had a real odd visible quality to them that added to their gonzo electro smudged indie- the fall with les savy fav and krautrock on a downer type of vibe.
Anyway, check them out.
Another sadly missed band from Cardiff were called Mclusky. I saw them early in their career, playing a violent, noisy and deranged set in Le Pub in Newport. They also went on to have an album produced by Steve Albini. The obvious nod to the pixies was taken with their acidic wit and nod to melody. Any band who starts a song with the lyric 'My love is bigger than your love, we take more drugs than a touring funk band' will curry favour here.
I will leave with what i think are wales best punk band. Their attitude was punk, but they also applied funk and ska into the mix. Give me these of twenty tossers with mo hawks and three chords. I really think the Ska scene, bands like Capdown, Five Knuckle and Adequate Seven are the real punk bands of the UK. RIP AD 7
Adequate Seven
Friday 13 July 2007
Ladies and Gentleman we are floating in Space...
After years of having assorted tracks on compilations i bought 'Ladies and Gentleman, we are floating in space' By Spiritualized and it was a lovely album to listen to in the bath while reading Noam Chomsky book. Might do a review of it, although its a difficult album to pin down.
I urge any music fan or musician to read this essay by Steve Albini
Steve Albini is probably most famous for mixing Nirvana- In utero (only for Nirvana's major label to freak out and 'polish' it) however he has produced lots of great underground bands as well as being in Shellac.
Expect a feature on Midasuno this week.
I urge any music fan or musician to read this essay by Steve Albini
Steve Albini is probably most famous for mixing Nirvana- In utero (only for Nirvana's major label to freak out and 'polish' it) however he has produced lots of great underground bands as well as being in Shellac.
Expect a feature on Midasuno this week.
Monday 9 July 2007
In my younger days i was a member of a band who had the priviledge of touring the UK and playing with many great bands, Secondsmile were probably one of my favourite in terms of music and being very nice guys. Their first ep is probably my favourite EP by a british band and i also admire the fact they survived the loss of their singer Olly and made great music when Ross stepped up to sing.
Secondsmile- our great and secret show
Buy their album here
Secondsmile- our great and secret show
Buy their album here
Klaxons- Myths of the near future
Buy the album here
I review this album a number of months after its release, so like a big brother contestant entering the a few weeks after the start of the show (complete with media coverage of public opinion) it is only right i consider the aftermath of this album. A recent visit to Topman (i need to dress better she says!) nearly made me develop a condition involving seizures brought about by flourescent coulours- such is the impact 'Nu-Rave' has had on high street fashion. Within that cavalcade of nu-glo sloganista fashion and arty abandon lies Klaxons. The Stone Roses inspired the desire for indie bands to make kids dance, so there is a history to this type of thing that Klaxons are attempting. Klaxons are the a band who seem keen to weld the two main youth movements during the 90's, rave and indie and give them a modern setting. Paul Morley, a man whose words carry weight in this neck of the woods has got it totally wrong when he describes Klaxons as 'kids playing rave music with guitars'. Indeed opening track 'two receivers' sounds like a good attempt at Bloc Party with a bit of Mansun's operatic guile. Of course, 'Atlantis to Interzone' is 'rave rock' to a tee, the sound of of indie kids interpretting rave- albeit sounding more like 80's matchbox b-line disaster than the KLF. The album production of the song is stodgy compared to the earlier single version. The track is good, but once the soundclash intensity fades away you hope that its not the album's peak. Klaxons real appeal and candle to long term success is the gourgous 'Golden Skans'- which again sounds like Mansun, all piano loops and spacious production. Although the track 'Totem' has a certain energy, it reminds you why early contemporaries such as Test Icicles were flash in the pan bands that will only last as long as 'Nu Rave' as a concept. A frankly dissapointing middle to the album is save by 'Gravity's Rainbow'- a really great song but one which makes me really begin to see how the dual vocals begin to grate. There is really no need to have the falsetto vocals on every single song!. 'Magick' is a real intense dark and robotic stabe at a punk song with a lovely refrain and nagging keyboard riff. The track points to how the band can continue with the quicker songs if they are willing to incorporate more of a nuanced melodic backdrop into them. 'Its not over yet' is a cool cover thats great strength is in its fragility. 'Four horsemen' is a slab of noise that really wasnt necessary.
Will Klaxons outlive the garish fashion is provided the soundtrack to? I hope so. This album must be improved on next time, but hope springs eternal in the world of Klaxons.
7/10
Klaxons- Magick
Buy the album here
I review this album a number of months after its release, so like a big brother contestant entering the a few weeks after the start of the show (complete with media coverage of public opinion) it is only right i consider the aftermath of this album. A recent visit to Topman (i need to dress better she says!) nearly made me develop a condition involving seizures brought about by flourescent coulours- such is the impact 'Nu-Rave' has had on high street fashion. Within that cavalcade of nu-glo sloganista fashion and arty abandon lies Klaxons. The Stone Roses inspired the desire for indie bands to make kids dance, so there is a history to this type of thing that Klaxons are attempting. Klaxons are the a band who seem keen to weld the two main youth movements during the 90's, rave and indie and give them a modern setting. Paul Morley, a man whose words carry weight in this neck of the woods has got it totally wrong when he describes Klaxons as 'kids playing rave music with guitars'. Indeed opening track 'two receivers' sounds like a good attempt at Bloc Party with a bit of Mansun's operatic guile. Of course, 'Atlantis to Interzone' is 'rave rock' to a tee, the sound of of indie kids interpretting rave- albeit sounding more like 80's matchbox b-line disaster than the KLF. The album production of the song is stodgy compared to the earlier single version. The track is good, but once the soundclash intensity fades away you hope that its not the album's peak. Klaxons real appeal and candle to long term success is the gourgous 'Golden Skans'- which again sounds like Mansun, all piano loops and spacious production. Although the track 'Totem' has a certain energy, it reminds you why early contemporaries such as Test Icicles were flash in the pan bands that will only last as long as 'Nu Rave' as a concept. A frankly dissapointing middle to the album is save by 'Gravity's Rainbow'- a really great song but one which makes me really begin to see how the dual vocals begin to grate. There is really no need to have the falsetto vocals on every single song!. 'Magick' is a real intense dark and robotic stabe at a punk song with a lovely refrain and nagging keyboard riff. The track points to how the band can continue with the quicker songs if they are willing to incorporate more of a nuanced melodic backdrop into them. 'Its not over yet' is a cool cover thats great strength is in its fragility. 'Four horsemen' is a slab of noise that really wasnt necessary.
Will Klaxons outlive the garish fashion is provided the soundtrack to? I hope so. This album must be improved on next time, but hope springs eternal in the world of Klaxons.
7/10
Klaxons- Magick
Thursday 5 July 2007
Neat, Neat, Neat
Hey pop pickers...
I have been very busy this week in my other life as a political junky so excuse the lack of posts. I promise to stick up a review of the Klaxons album (belated i know, a feature on welsh bands and a look back at a undiscovered classic that i hope can be filed in the 'this guy is self important enough to find albums i have never heard of and take credit because i now like them' file.
I will leave you with Bright Eyes- when the president talks to god
I have been very busy this week in my other life as a political junky so excuse the lack of posts. I promise to stick up a review of the Klaxons album (belated i know, a feature on welsh bands and a look back at a undiscovered classic that i hope can be filed in the 'this guy is self important enough to find albums i have never heard of and take credit because i now like them' file.
I will leave you with Bright Eyes- when the president talks to god
Monday 2 July 2007
Seven ages of rock
I love dear old auntie Beeb. It is always does music documentaries so well, BBC 6music is my fave radio station, and thats without Later...
I have enjoyed Seven ages of rock like the fanboy i am. All the periods included music i own and enjoy as well as others i don't but appreciate. I cant say i am a huge Jimi Hendrix fan per se, but the nuanced portrayal of his influence in the first show was powerfully made and made me dig out some of the stuff i do have of his (his version of 'Daytripper' by The Beatles is a joy). In the prog/bowie edition, i for the first time started to 'get' Roxy Music and will be purchasing forthwith to add to be wide cannon of Yes, King Crimson, Jethro Tull and early Genesis i already own and love. I forgot how good a band Iron Maiden were, and how influential they were on both sides of the pond, ditto Metallica.
I missed the punk edition, but in truth i find it very difficult to see what more could be told of a story that's been told more times than jack and jill. Remember those 'punks' you see in documentaries- well they are either bank managers or f****ing property developers like Johnny Rotten today so i find it hard to take such fond look of a time that is held as some sort of beacon of youth rebellion. Truthfully i think acid house and the early 90's rave scene had far more of a wider reaching impact on today's music and society as a whole. Whether it be stemming football violence, relaxing drug laws and give Britain a groove- it is far more visible in to days youth culture than 1977 era punk ever will be.
The two programs in the seven ages of rock were of most interest to me were the two most recent ones, left of the dial and What the world is waiting for because i lived through one and the tail end of the other. I was just too young to be around at the time of Nirvana's ascent (although my cousin lending me Nevermind and In Utero had a huge impact on me at the age of 12) but i have huge love of all the music involved. What impressed me about this show was that they used hardly used footage, it avoided the 'obvious' Nirvana footage (Kurt squeezing a lemon, anything off the 'live tonight' video) and made the under reported link between bands like Blag Flag and Nirvana. The link between REM, who i learned much more about, and Nirvana set the premise of the show well and there was just so much good music to enjoy. It is scary to think that 2 Nirvana albums have always been in my top ten favourite albums ever, and this show was a reminder of why. The four 'real' Nirvana albums, Bleach, Nevermind, In Utero and Unplugged (although to be really awkward my favourite song is actually 'Aneurysm on Insecticide) have all graced my top ten, although being the self important 'High fidelity' loving geek i am i am going to re draw my top ten and make sure only one album per artist is allowed. One band 'discovered' thanks to this show was 'The Replacements' so it joined each of the previous shows by getting me to buy more records!
The 'What the world has been waiting for?' show did no such thing, because i pretty much own every album featured. However it was a joy actually seeing gigs i went to, records i bought and stories you read at the time being talked about as rock 'folklore'. The amount of times us 90s/noughties kids have to hear about how the past was when it was happening was beginning to get unbearable. The five bands that i thought linked the whole show well i had a real involvement in, although at different times and for different reasons.
The Smiths are my favourite band ever bar none. Although in truth i would have probably not been a fan if i was old enough at the time because i think Oscar Wilde and A taste of honey references were above my intellectual plain during my teenage years. However as i reached 18 i really began to grasp the real beauty of the Smiths music and message. It was a real pleasure to see live footage of a more rocking and boisterous attempt at Smiths songs in the footage and i simply forget how many great songs the Smiths have. I feel it is very hard to find a better great songs to albums ratio than the Smiths.
The Stone Roses was my salvation after falling out from Oasis post 'Be here now', i think i really began checking them out because Ian Brown's solo stuff was debuting and the NME were claiming how great they was. The first Stone Roses album really began my journey into more experimental music, even though by my standards today it is pretty well about as mainstream as you can get. The Stone Roses could really play and had a groove, and opened my ears to a new concept that technical prowess and originality were sometimes more powerful than 'anthems'. John Squires guitar work is exceptional on both albums they made. Which brings me onto a little secret- i love the 2nd stone roses album, the supposed 'flop' that was the sound of band in freefall. The riffs are massive, 'Begging you' has a beat par excellence, but i must admit that Brown's vocals were crap and there is some real junk that fills up some of the album.
Oasis changed my life in so many respects, but in a way that meant i moved away from them and still find it hard to look back at their music in the way i want to. The facy that five scallys from a council estate could make it really appealed to me over blur, who again i didn't start appreciating until i got a bit older and wise enough to see the subtlety of their approach. Quite simply put, i loved the sounds and sights of Oasis AND i could still go out and play football and not be a 'hermit' like so many Smiths fans must have felt in the 1980's. I remember getting hammered on diamond orange and going to see Oasis on the whats the story tour in the CIA in Cardiff and i really felt like i was 'aving it. I started learning to play the guitar because of Oasis, however i was always much better at football so i spent more time doing that than struggling to play the guitar. I even joined a band that revolved around Oasis and oddly Llama Farmers covers (i implored you to check out the Llama Farmers- dead letter chorus, it has been deleted but is amazing). The day i went off Oasis was the day i bought 'Be here now', a real let down and i began to see the lack of imagination in their music that had been masked by a freshness in their approach. You take the anthemic quality of Oasis' music and you are not left with much. However, 'The importance of being idle' on the last album shows that i would walk over hot coals to hear a Noel Gallagher solo album even after all these years.
Blur were never my thing at the time, too posh, too arty and dare i say it too different for my rather placid taste at the time. However, Blur by Blur changed my whole opinion on Blur and made me a fan of most of their stuff. In truth i think had britpop started tomorrow i would be a Blur fan, but then i suppose i would have been to snobbish to get involved like i did when i was younger, much like my attitude to the Artic Monkeys and the like today.
I give them their belated dues even if their bad points are amplified in the Kaiser Chiefs rotten output!
The Libertines were the band used to tie up the whole show as we entered the mid-noughties and i have mixed feelings about them. I think they were pioneers of a very unpioneering sound, they essentially took the deft 'take it of leave it' cool of the Strokes and added Cockney accents- but they did it very well. I must admit when you really weight it up against the illustrious company i have spoke about here, they simply don't stand up, but maybe that's not the point. The fact that the libertines got out of the toilet scene shows how far indie had come, the fact that they get elevated to such high company shows that indie may have come too far away.
I have enjoyed Seven ages of rock like the fanboy i am. All the periods included music i own and enjoy as well as others i don't but appreciate. I cant say i am a huge Jimi Hendrix fan per se, but the nuanced portrayal of his influence in the first show was powerfully made and made me dig out some of the stuff i do have of his (his version of 'Daytripper' by The Beatles is a joy). In the prog/bowie edition, i for the first time started to 'get' Roxy Music and will be purchasing forthwith to add to be wide cannon of Yes, King Crimson, Jethro Tull and early Genesis i already own and love. I forgot how good a band Iron Maiden were, and how influential they were on both sides of the pond, ditto Metallica.
I missed the punk edition, but in truth i find it very difficult to see what more could be told of a story that's been told more times than jack and jill. Remember those 'punks' you see in documentaries- well they are either bank managers or f****ing property developers like Johnny Rotten today so i find it hard to take such fond look of a time that is held as some sort of beacon of youth rebellion. Truthfully i think acid house and the early 90's rave scene had far more of a wider reaching impact on today's music and society as a whole. Whether it be stemming football violence, relaxing drug laws and give Britain a groove- it is far more visible in to days youth culture than 1977 era punk ever will be.
The two programs in the seven ages of rock were of most interest to me were the two most recent ones, left of the dial and What the world is waiting for because i lived through one and the tail end of the other. I was just too young to be around at the time of Nirvana's ascent (although my cousin lending me Nevermind and In Utero had a huge impact on me at the age of 12) but i have huge love of all the music involved. What impressed me about this show was that they used hardly used footage, it avoided the 'obvious' Nirvana footage (Kurt squeezing a lemon, anything off the 'live tonight' video) and made the under reported link between bands like Blag Flag and Nirvana. The link between REM, who i learned much more about, and Nirvana set the premise of the show well and there was just so much good music to enjoy. It is scary to think that 2 Nirvana albums have always been in my top ten favourite albums ever, and this show was a reminder of why. The four 'real' Nirvana albums, Bleach, Nevermind, In Utero and Unplugged (although to be really awkward my favourite song is actually 'Aneurysm on Insecticide) have all graced my top ten, although being the self important 'High fidelity' loving geek i am i am going to re draw my top ten and make sure only one album per artist is allowed. One band 'discovered' thanks to this show was 'The Replacements' so it joined each of the previous shows by getting me to buy more records!
The 'What the world has been waiting for?' show did no such thing, because i pretty much own every album featured. However it was a joy actually seeing gigs i went to, records i bought and stories you read at the time being talked about as rock 'folklore'. The amount of times us 90s/noughties kids have to hear about how the past was when it was happening was beginning to get unbearable. The five bands that i thought linked the whole show well i had a real involvement in, although at different times and for different reasons.
The Smiths are my favourite band ever bar none. Although in truth i would have probably not been a fan if i was old enough at the time because i think Oscar Wilde and A taste of honey references were above my intellectual plain during my teenage years. However as i reached 18 i really began to grasp the real beauty of the Smiths music and message. It was a real pleasure to see live footage of a more rocking and boisterous attempt at Smiths songs in the footage and i simply forget how many great songs the Smiths have. I feel it is very hard to find a better great songs to albums ratio than the Smiths.
The Stone Roses was my salvation after falling out from Oasis post 'Be here now', i think i really began checking them out because Ian Brown's solo stuff was debuting and the NME were claiming how great they was. The first Stone Roses album really began my journey into more experimental music, even though by my standards today it is pretty well about as mainstream as you can get. The Stone Roses could really play and had a groove, and opened my ears to a new concept that technical prowess and originality were sometimes more powerful than 'anthems'. John Squires guitar work is exceptional on both albums they made. Which brings me onto a little secret- i love the 2nd stone roses album, the supposed 'flop' that was the sound of band in freefall. The riffs are massive, 'Begging you' has a beat par excellence, but i must admit that Brown's vocals were crap and there is some real junk that fills up some of the album.
Oasis changed my life in so many respects, but in a way that meant i moved away from them and still find it hard to look back at their music in the way i want to. The facy that five scallys from a council estate could make it really appealed to me over blur, who again i didn't start appreciating until i got a bit older and wise enough to see the subtlety of their approach. Quite simply put, i loved the sounds and sights of Oasis AND i could still go out and play football and not be a 'hermit' like so many Smiths fans must have felt in the 1980's. I remember getting hammered on diamond orange and going to see Oasis on the whats the story tour in the CIA in Cardiff and i really felt like i was 'aving it. I started learning to play the guitar because of Oasis, however i was always much better at football so i spent more time doing that than struggling to play the guitar. I even joined a band that revolved around Oasis and oddly Llama Farmers covers (i implored you to check out the Llama Farmers- dead letter chorus, it has been deleted but is amazing). The day i went off Oasis was the day i bought 'Be here now', a real let down and i began to see the lack of imagination in their music that had been masked by a freshness in their approach. You take the anthemic quality of Oasis' music and you are not left with much. However, 'The importance of being idle' on the last album shows that i would walk over hot coals to hear a Noel Gallagher solo album even after all these years.
Blur were never my thing at the time, too posh, too arty and dare i say it too different for my rather placid taste at the time. However, Blur by Blur changed my whole opinion on Blur and made me a fan of most of their stuff. In truth i think had britpop started tomorrow i would be a Blur fan, but then i suppose i would have been to snobbish to get involved like i did when i was younger, much like my attitude to the Artic Monkeys and the like today.
I give them their belated dues even if their bad points are amplified in the Kaiser Chiefs rotten output!
The Libertines were the band used to tie up the whole show as we entered the mid-noughties and i have mixed feelings about them. I think they were pioneers of a very unpioneering sound, they essentially took the deft 'take it of leave it' cool of the Strokes and added Cockney accents- but they did it very well. I must admit when you really weight it up against the illustrious company i have spoke about here, they simply don't stand up, but maybe that's not the point. The fact that the libertines got out of the toilet scene shows how far indie had come, the fact that they get elevated to such high company shows that indie may have come too far away.
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