CD freaks

You know how you still get those guys who swear by Vinyl and love the rawness and the reality of the sound that comes out. The fact that not every listen is exactly the same as the last because the turntables could play them a slightly different speed at a certain point, or that natural wear and tear means that over time the discs get worn and slightly warped is something these people live and breath for.

My brother used to own vinyl purely professionally and found it a dangerous medium for dragging everywhere Friday and Saturday nights. A couple of friends spent their entire student loans on their collections of Animal Collective re-releases and vinyl only singles. Even I've been known to purchase a Los Campesino's EP purely because the disc was bright yellow. I mean, ridiculously yellow.

So although I've bought into a little, I don't have a massive interest in building up a huge library of vinyl: - They're expensive to buy, expensive to keep and the records don't even retain their sound!

On the other hand, I'm not a big fan of this digital revolution either. I only got an iPod a few months ago and that's because it was free. And the battery barely lasts an album before crackling and dying. If I could find it I'd still use my Minidisc player. Maybe.

iTunes is a horrible application, as is its bastard child Spotify. Not wishing to sell it at all, Spotify is essentially an online library of music that is free to stream if you don't mind hearing the odd advert about how amazing spotify is, how the great benevolent spotify has our best interests at heart.

But this is the idea I cannot stand. I recently hit a landmark number of CDs that I have ever bought, and they are arranged lovingly on one wall in my room. I love that I own all of these CDs, and frequently enjoy buying more, whether I can afford them or not. I love it when I get a couple of new CDs and have to re-arrange to fit them all in. These albums are all mine.

On Spotify, nothing is mine. The money spent on buying these CDs, the memories that may be attached is not even worth it. People are selling their CDs and listening to albums, perfectly legally, for free, online. I hate this. It means that you can't cast your eye of judgement over someone's collection, filling in the gaps in your knowledge about them by whether or not they do own any Nick Drake or they were just trying to impress you. If they display a Take That album proudly or hastily stowed with other guilty pleasures. How can Spotify's last ten searches top that?

While nowadays most people's (mine included) collections are shaped by what is stocked in their local HMV, in the future will the boundaries be a presumed omniscient online database. I was trying to find Sunny Day Real Estate's masterpiece Diary on their Spotify account only to find it wasn't there.

What I find annoying is how those who would gladly sue you on the spot for "stealing" their millions by downloading are more than happy to have their music featured here. What's even more annoying is when certain albums I can only find on Spotify.

Twelebrities are creating spotify playlists, using them as yet another social networking site that I don't really want to a part of, but it seems like I might need to be.

The only benefit, as I can see, is for parties. The host is no longer expected to have an amazing collection, and you as the guest are no longer required to sit through another boring Lily Allen album as it was the most tolerable of what was availiable.

In summary, don't use Spotify, unless you want to host a party.

Video: Kasabian - Underdog

So Kasabian are back again, after that pretty dodgy second album. I'd pretty much swore to myself that I would never bother with them again, but this track, having featured on so many TV shows and adverts, has re-kindled my curiousity.

The big riffs and empty, vaguely confrontational quasi-revolutionary lyrics take me all the way back to 2004, and buying their first album is WHSmiths (ouch).

Anyway, I've not heard anything too hot from the rest of the album but I'll definitely check it out now, because this song is amazing.

Oh Minnows + Cheatahs

Oh Minnows is the new band of Semifinalist Chris Steele-Nicholson, and produces ethereal atmospheric loveliness similar to the aforementioned band, continuing largely where their debut album left off (ignoring 2 completely).

Debut EP "Might" is out now on Young and Lost, with the lead track featuring simmering lead synth lines and a shoegaze sound of Deerhunter, track two "Second Version" featuring a funky rhythm alongside its soaring vocals. Final track "High Or Low" is an acoustic ballad that is closest to Semifinalists' signature sound.

Myspace

Might EP is out now on Young and Lost Club

Cheatahs is another shoegaze/lo-fi project, this time by the vocalist/guitarist in Little Death Nathan Hewitt. Also released by Young and Lost Club this week, is single "Warriors"/"Minotaur".

Sounding like an old Pavement recording that they did underwater into a dictaphone, with a voice like a somehow even more harrassed Eliott Smith, Cheatahs are also due to release an EP within the next couple of months.

Myspace

Warriors/Minotaur is out now on Young and Lost Club

REVIEW: Run Toto Run - Plastic Gold EP

This review is being written in the post-Glastonbury malaise of once again ogling hours of footage both on TV and online and still managing to miss millions of bands I wanted to see, and then promising myself that I'll definitely go next year.

So when I received a copy of Run Toto Run's self-produced EP, released by the lost and lonely singles club, I couldn't wait to hear something that wasn't introduced by Jo Whiley.

Lack of Whiley-ness aside, the EP is nothing short of fantastic, with every track capable of leading and not a bum note within its 17 minutes of wholesome Indie-pop goodness.

Opener and lead track "Plastic Gold" seems to cross paths with Australian twee-mongers Architecture in Helsinki without loosing touch with the listener, maintaining a hushed intimacy through lead singer Rachael's cautiously fun vocals, sitting just right in the mix to balance them with the upbeat music behind.

"Good Coat" is my personal favourite, sounding like Lemon Jelly's summery electronica made all the more accessible.

"Catch My Breath" brings together the softer side of Crystal Castles with the toytronica of Psapp, linking Xylophone and grimey chiptune beat in perfect harmony. A perfect example of the many layers within Run Toto Run's music, each instrument remaining distinct yet still producing a lush soundscape.

Their self-control is evident in the more stripped down "Breakdown", with instruments whispering alongside Rachael's vocals before the rest of the band join her in glorious harmony.

The ballad of "Alice" is the perfect closer to this thoughtful and enchanting EP, which leaves an impression far greater than its quarter hour length. Each song is as lovingly crafted as the last, beckoning the listener further and further in with their summery tunes and positive beats. Twee without overpowering, summery without being sickly sweet and positive without being preachy.

On top of this is the band's general good humour, taking the time to get in touch with this lowly reviewer and coupling the EP with a hand-written note despite the band themselves earning the attention of the national press and some radio airplay.

(Oh and the by the way guys, it wasn't me.)

9/10

Plastic Gold EP is out now and availiable via the band's website www.runtotorun.co.uk.

Video: Passion Pit - Sleepyhead (Live)

If we could pretend it's 2008, and that I am bang up to date rather than hopefully out of touch?

Thanks.

You might like: Arcade Eden

Signed to respected Indie label Ear Candy Music, Arcade Eden are built around brother and sister Clare and Lawrence, incorporating chiptune beats with solid basslines to produce music somewhere between a SNES game and rave in a field.

Even Rob Da Bank agrees, having awarded them a mainstage slot at his beloved Bestival out of a number of other IOW-based acts, propelling them further into the limelight

Obvious touchpoints are Crystal Castles and the electro triumvirate of Digitalism, Justice and Simian Mobile Disco, combining their stripped down beats with relentless energy and enthusiasm. Live Lawrence's darkly rumbling bass somewhat recalls Death From Above 1979's Jesse F. Keeler, coupled with Liam's danceable drums.

From the samples on display from their as-yet-untitled upcoming album, "One Night In Town" and "Know Your Enemies" are going to be early favourites.

Definitely worth checking out live, Arcade Eden are also due to play the unfortunately named Brownstock Festival in Chelmsford on July 11th, London Club Night We Don't Understand You on 6th August, and the aforementioned Bestival main stage set on the 11th September.

Myspace

Image shamelessly stolen from Myspace page without permission. Will be removed upon request.

The B of the Bang and Run Toto Run @ The Fat Fox 11th June 2009

This somewhat late review is testament to the fact that I've not been in a very musical frame of mind of late, but had a quick chance to go to my first (and thanks to the end of university, last) gig at the Fat Fox's live music night the Hong Kong Gardeners Club.

First up to an audience somewhere around eight, and almost begging them to come closer, was Lonely Joe Parker, whose solo acoustic set while entertaining, was largely forgettable. (This may also have been because it was about 2 weeks ago.)

Myspace

Next up were The B Of The Bang, launching their album at the show, and showcasing it at length. Amongst the folk-tinged tracks performed by the collective, they also held a meat raffle and had a full unplugged singalong in the front row. Decked out looking like Miami Vice, frontman Wit has the crowd in his hands for the entire set, stopping short of inviting the entire venue onstage.

Myspace

Eventually, to an unfortunately emptier room, Manchester's Run Toto Run commence their hastily re-scheduled gig. Their stripped down folktronica and determination to avoid anything largely resembling traditional rock instrumentation has found a fan in this reviewer. Where some bands use this multi-instrumentalsim as a pure gimmick, the violin and flute are used sparingly, almost leaving you begging for more. The only downside being new track "Full Stop", which largely sounds a like the soundtrack to a drunk clown falling down some stairs in a Chuckle Brothers' show. Apart from this there is more than enough here to sell me their EP, and expect a review of that here soon.

Myspace

ALBUM: British Sea Power - Man of Aran

After the flurry of interest surrounding BSP after their Mercury-nominated third album Do You Like Rock Music?, a veritable Arena-sized barnstormer, it seems odd that this release is so low-key and under-billed. But of course, this isn't your regular BSP album.

74 minutes in length, it is meant as a "re-imagined" soundtrack to 1934 documentary film Man of Aran that was performed live at the BFI accompanying the film. Despite containing some re-imagined favourites, this is about as Hollywood as these guys get.

So of course, like most soundtracks, devoid of visuals this is unfortunately pedestrian at best, and is a demonstration instead of their own seld-constructed scene of the cultured and the twee. To my mind, the only band to have been nominated for a Mercury Prize and have appeared on Countryfile. Twice.

So for those of these seeking their follow-up, this isn't it. This is a record for the fans, the completists and the curious.

6/10

Man of Aran is out now on Rough Trade.

Recent Solo projects

Jason Lytle - Yours Truly, The Commuter

Despite the (surely unknown to Lytle) uncomfortable association between this and the Kaiser Chief's sophomore, this solo album reminds you that Lytle definitely was the brains behind Grandaddy and has certainly yet to lose his magic touch. Its a shame they couldn't all get along, but as long as Lytle is still making great indie music, I'm not worried.

8/10

Nickel Eye - The Time Of The Assassins

The reviews I read were along the lines of "Oh no, not another Strokes side-project", which I generally thought were pretty harsh. Then I listened to the album, and realised they weren't harsh enough.

4/1o

Graham Coxon - The Spinning Top

Although the idea of a Coxon solo album is pretty redundant now Blur are back together, most of this was still written and recorded in the "wilderness years" which produced his last two, most successful albums. This harks further back to the albums he worked on while still in Blur already, with Drakesque autumnal tracks and a pensieve feeling of well-being. Curiously, every track feels like a great closer to a great album, but this one unfortunately suffers for it.

7/10

Dananananaykroyd @ Southampton Joiners, 13th May 2009

First a quick word on the illustrious venue. Currently hailing from Portsmouth, I am supposed to have absolute disdain for all things Southampton, but I can't help but enjoy the Joiners Arms. Its the largely independent spirit behind it, the local band splendour of knowing that for local scenesters, this is almost making it. It's grottiness is close to Godliness. Plus the toilets boast a collection of promo stickers for probably long gone bands with such awful/great names as "Die So Fluid" and "Rushing With Apathy".

So then, an apt setting as a staple stop on the indie circuit, and as such featured a couple of local bands to begin with. The first (and arguably second best band of the night) being instrumental post-rock act WAKING AIDA. While those adjectives may prompt a snore-fest from many of you, they are far more of the 65DaysOfStatic stable than the Godspeed You! Black Emperor extended noise sessions, mixing as they do, looped math-rock stylings into what is meant to be only their fourth gig ever. Definitely worth a listen.

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Second on are JAPANESE VOYEURS, whose name is only just good enough to not be forever confined to a venue toilet wall, but with a sound that should be. It's all grunge cliches except with a female singer, which I sincerely hoped wasn't going to be a gimmick, but turned out to be the only vaguely interesting thing about them. What was also a shame is how on their second song, she decided to stroppily proclaim "You're so cool" in a mock Paris Hilton strop that was all too realistic to tell if it was a parody. Really bad.

Myspace

Next are VIDEO NASTIES, a band I'm only dimly aware having passed on a number of promos sent into to the radio station I work for after admittedly skimming through the tracks. Live they seem to resemble a sub-par Maccabees, albeit less fun and much more serious, apparently believing the tiny Joiners venue to be far below their expectations. Not all that great either.

Myspace

Finally, DANANANANAYKROYD hit the stage, with all six of them in jovial spirits and chatting with the crowd. Possibly the friendliest band ever. Lead singer Callum not only calling up a fan who couldn't make it but heartily apologising to anyone he jostles with in the crowd during frequent trips into the front (and back) row. Taking a brief intermission to take questions from the audience, it is discovered that this warm up gig for The Great Escape Festival is one of the few they've done on the South Coast at all. More importantly however, their twin-drummed attack of lo-fi melodic noise is an absolute stormer, as good, if not better, live than on their record Hey Everyone!, with "Pink Sabbath" being the highlight in both.

Myspace

Unfortunately, thanks to the sense of humour of the South Coast rivalry, the last Portsmouth-bound train leaves at 2303, on the opposite side of Southampton, meaning that a sprint through some parks and roads is all that the second half of their set was for me, but very much enjoyable, all the same.

Dananananaykroyd's debut album "Hey Everyone!" is out now in the UK via Best Before Records.

Some updates, some news, some opinions.

So I'm temporarily home (literally just for a couple of hours) and I absent-mindedly returned to this blog and had a good trip down short-term memory lane and laughed and "gosh, how funny AM I?" etc. etc.

I'm not going to apologise, you'd never believe. Nor am I going to fawn over this year's selection of "talent", whom by now have all gently slipped off the radar near completely (save for Florence and The Machine, whom I accidentally heard on the radio today) meaning that, of course, the Festival Season has arrived to remind everyone of those bands who "we" all loved in those last cold dark weeks of December when every two-bit music site had us believing that this was the second coming.

A major karmic decision, based on something I did that was clearly so heinous that I managed to block it out completely means that Radiohead are headlining Reading and Leeds the year I decide not to go. On the night I definitely can't go, as I am on my way to Tokyo mere hours later. While the rest of the line-up is predictably sour and much too boring to describe here, I've promised the irrational part of my brain that if Animal Collective and the heavily rumoured Black Lips both play, I will be obliged to attend.

Unfortunately on the new music front I have kind of slipped recently due to the frightening prospect of a dissertation and the smoking crater of real life it has left behind, although I've been trying to keep abreast of a few recent albums. Notably Franz Ferdinand's latest, containing the wonderful "Lucid Dreams". Although if I hear "No, You Girls" one more time I might kill something. Also, Yeah Yeah Yeahs' Its Blitz! was the darling of my speakers for a week or so some fortnights ago. The eagerly awaited Fatboy Slim remodelling of The BPA turned out to be so bad you begin to realise why he didn't want his normal moniker included at all. Royksopp's Junior was crazy and sedate in equal measure, in the way only these Norwegian advert musicians can. The tracks featuring The Knife's Karin Dreijer Andersson being by far the standouts.

I'm sure there were other albums I have listened to, as well as those that I will hit myself for missing (such as the aforementioned Ms Andersson's solo work as Fever Ray, which I eagerly await in the post). However, I have really taken a bit of a step back and instead listened to some old music, checking out post-punk geniuses (genii?) Wire for the first time to find that everyone was right and they are amazing.

Eagerly awaited albums for the remainder of this year are the much-delayed LCD Soundsystem and Beastie Boys albums, as well as Patrick Wolf's latest work. I would go into release dates and the relevant info on further albums, but the only reason I really came on here was because I'm meant to be writing a lovely essay on the co-evolution of the French and English languages and how we like to nick their words but they hate ours. Oh well, c'est la vie.

Another apology

There's only thing worse than no content. And its content posted about the lack of content.

Sorry I haven't been around. I have been tres busy, mainly with Uni work. The type of Uni that would take 5 seconds if I actually sat down and did it, and yet if I do anything else that takes (apparent) time away from doing that then I feel immediately extremely guilty anf get even less done.

But don't worry, it will all be over soon, and when I've sobered up, more content shall be expelled from these here virtual lips.

Promise.

It won't hurt

Finding ways to stay soooo low.

It won't hurt

Finding ways to stay soooo low.

Paul's Boutique

So it's 20 years since Paul's Boutique, hailed by many as a landmark album in many ways. Firstly, as the Beastie Boys' sophomore effort it justified the praise heaped on them previously. At least for most listeners. Others still felt uncomfortable listening to three white guys rapping, a long time before the massive success of Eminem, when Hip-Hop was still new and exciting.

Although admittedly my knowledge is hip-hop is fragmented (read: virtually non-existent) to the point where I'm aware of a lot of people but I'm not sure why, and I recognise a lot of songs but I have no idea who they are, I am a massive fan of the Beastie Boys.

However, I never really got Paul's Boutique. It was ok, fairly standard Beasties' fare, but not too my mind above their more recent efforts in Hello Nasty and To The 5 Boroughs, with which I had already been enamoured. It wasn't the straight up rap of these, nor was it the rap/punk mix of Ill Communication or Check Your Head. If anything, it came across as, ironically, it was received by many at the time. As a difficult follow up to a massively successful debut, Licensed to Ill.

It took an awesome soundsystem in a branch of now defunct music shop (that I also used to work in back when it was Virgin Megastore) a few weeks back to make me realise what I was missing.

All of a sudden, the amazing depth of sound, the subtle (and not-so subtle) sampling that made the whole album flow so effortlessly made so much more sense to me. "Johnny Ryall" had before been an inane chant. The part of the Beastie's discography you skip through to get to "Sabotage" and "Intergalactic". Now it was the highlight, the centre of the collection and not a record you'd buy to make up a 2 for £10 offer.

I didn't even realise that a month later that it was the 20th anniversary of its release, with a re-mastered version and even a track-by-track commentary availiable.

Basically, rather than writing a review about an album (and a genre) that I consistently show lack of awareness of. There are plenty of reviews about who say it much better than I ever will, but to put it simply: this is simply a must-have, must-listen-to, must-cherish album for anyone who is even vaguely a fan of Hip-Hop or any of the Beastie's output. Then put it in your stereo and turn it up loud.

Honestly.