07.02.2008. the whitest boy alive. electric ballroom, camden, london.

The Whitest Boy Alive

These boys have got it all. The groove, the melodies, the instantaneous desire to just start flicking your hip, you feel the people shout around you and you look at their faces. Her face, the smiles, the hands in the air, the high fiving with a brilliant enthusiastic group of Spaniards off their heads on mdma. the sheer, unbridled joy of the occasion. and suprisingly cool t-shirts (even if I did have to buy a large girls… oh dear… the skininess…)… listen to the video…

‘can you keep a secret?’

the Whitest Boy Alive are the bees knees.

They play at Koko in May on the 21st. [CLICKY THING]

something for the weekend.

February 1, 2008

Check out the brilliant dancing at the end

hope-less…

October 15, 2007

This is the funniest interiew I’ve seen in ages… it’s exceptional, Sigur Rós, simply the most wonderful band, simply the worst interview I’ve ever seen. The interviewer is so crap, and I’ve done a few bad ones in my time, but he’s AWFUL. His questions are just completely non-researched, encouraging the ridiculous monosyballic answers. Got what he deserved.

interpol, koko

Ok, for seven days only, here is one of the weirdest things I’ve heard for ages.

Interpol‘s new album, the excellent ‘Our Love to Admire‘, begins with a mournful, thoughtful song ‘Pioneer to the Falls‘. It’s brooding melancholy is set, before the song builds slowly, layer by layer, until a beautiful climax during the song.

Now, I don’t know but I am assuming – and hoping – that this version was scored and put together by Carlos D. Who, as I mentioned a month or so back, is also exploring his potential in classical composition and film scoring.

As b-side to their ‘Mammoth‘ single, I assume and hope it was him. Hear his glory for the next seven days only…

Interpol – Pioneer to the Falls (orchestral version)

Verdict?

Well, it’s not something that will end up listened to as much as other b-sides, or ‘pol album tracks, but I always admire someone who tries something different.

In all honesty, when it reaches the climatic parts, I think it’s excellent but I feel it lacks something when the chorus returns to each verse, I feel is slightly underwhelming. It lacks rhythm at these parts. I feel some of the horns at the start are distracting, but all the way through I think the woodwind colours are excellent whilst the song runs. I also have a problem generally with synthesised brass. They sound shit. If it isn’t synthesised (and I’m pretty sure it is, I’ve only listened twice to it so far) then it just sounds crap. really tinny.

Generally though, well worth listening and full respect for trying something new and expanding the reportoire. Although it’s not exactly going to be performed live… although that’d be an amazing thing for the BBC Electric Proms concerts. Hmmm…

J.

something for the weekend.

August 31, 2007

On the street where you live girls talk about their social lives
They’re made of lipstick, plastic and paint, a touch of sable in their eyes “

haha, brilliant – andthey look so funny! Bon Jovi rule! Oooooo… she’s a little runaway…

J.

something for the weekend.

August 24, 2007

devo girl u want

Absolutely brilliant video. Girl U Want is definitely coming on here soon too… Oh, and they’ve got a new song too I think, Watch Us Work Out, that’s really really good.

J.

mind over time…

August 20, 2007

interpol, koko


INTERPOL are a very emotive band.

There’s no doubt about that in my mind; Turn on the Bright Lights, Antics and now Our Love to Admire are all filled with songs of loss, love, joy, aggression… well in my mind, everything’s there, I’ve played those records to death.

But unfortunately, there’s just not enough. I become desperate to hear every track with bands I love, I obsess, I hunt them down. Even hunting down obscure tracks on soundtracks to shows like Six Feet Under (Direction, it’s all right).

But why?

Because there just aren’t that many bands that can provoke reactions within me like Interpol can.

So when Love to Admire came out, the first thing I had to do was hunt down any B-sides. I found the Mammoth instrumental version, and then I heard of a song that featured as a b-side to the Japanese release of the album…

Mind Over Time
(seven days only…)

This is beautiful. It’s gorgeous, somehow even managing to get away with Jean Michel Jarre-esque synths in the background. They just enhance the song.

But what makes this song so marvellous to me is beautiful lead in and lead out. The dynamics of the song is just perfect. I think the middle section where it seems to rock out, while still pondering about the meaning, it quite sounds like Idlewild’s last title track on The Remote Part. But that’s all right, I like that song too…

It sticks with you. This song resonates in head after it’s been played. I must press repeat.

Enjoy,

J.

Read the rest of this entry »

something for the weekend.

August 17, 2007

I never even thought that a band called Clap Your Hands Say Yeah would inspire so much clapping. That is so ludicrously dumb.

Anywho, this band were undoubtedly one of the best things I saw at Benicassim or FiberFIB or whatever it’s called. Absolutely outstanding.

In all fairness, this isn’t even a bad video considering someone shot it non-professionally.

I’m so glad they delivered. Amazing band.

melody day…

July 29, 2007

caribou_ampitheatre.jpgDan Snaith is an absolute genius. Under his moniker, Caribou (previously Manitoba), he has made four outstanding records, particularly with 2003’s Up In Flames.

Later this Summer he releases his latest effort, the nine-song Andorra. Now Snaith seems like an impulsive kind of guy when naming songs and tracks so perhaps this is not a concept album about the miniscule country bordering France and Spain. Or is it? Who knows, and who cares when the music is this good.

So far I’ve managed to rip a considerable number of tracks off the net in advance and I absolutely can’t stop listening to them. The integral song, or the one that a few people might hear is first single (out now) Melody Day. It sounds like a ’60s dreamy pop record put through the grinder by a band of drummers.

And that’s where Snaith stands out even more. On every record, the percussion is always aboslutely amazing. See, what I love about Caribou is that the records are layered, not chucked in, but carefully layered until there are hundreds of sounds on each track. Each time you listen you hear something gorgeous and new. One time, I remember listening to one track of Up in Flames in bed and hearing a frog croak or something.

So buy it, go and see him in Kingsland Road, EC2 on August 2 (I forget where) or see him in Dalston at Barden’s Boudiour, 38-44 Stoke Newington Road, on September 5 (I have no clue what to expect but can’t wait). He’s hardly ever over here (Canadian) anyway, it’s really cheap. He doesn’t seem to get much press but it’s some of the most phenomenal music I’ve heard. It’s magnificent. Oh, and all of his family, including him all have PhD’s in maths or something. That’s great work really, even if I do hate maths.

Enjoy the most beautiful song of the summer…, J.

Melody Day.

This was possibly tune of the Glastonbury weekend for me. This band don’t pretend to mean anything, they’re not amazing musician’s but they are so fun to see live. After Astoria, when I heard they were at Glasto, I had to go see them.

If you like CSS, or Cansei der Ser Sexy, check out Lovefoxxx’s flickr page of them on tour etc or the band’s main flickr page

J.

my dear Glastonbury,

June 30, 2007

glastonbury mud
Oh, how I love you so. How I wait your call to arms, I delight in the knowledge that you’re around the corner, treating me to your music and madness and your temporary insanity.

You are certainly a challenge, but you make it worth every bit of effort I can summon from my skinbag of bones and blood. You eat people up, you consume them and spit you out. You put us out to the elements,  to withstand anything and everything the weather can chuck at us.

You should be painful, but you’re not.

Except for a little bit where  the dried mud pulled out my leg hair, leaving spotted bald patches on my legs. And the aching, and odd bowell movements from the Mexican place. Despite that, you’re (relatively) painless.

Anything can happen at Glastonbury. You could end up covered head to toe in mud, showering for the third time to get the remnants of the mud out of your nails. But you’ll always be fine.

You could end up lost in a fiery field in the dark, drenched with rain, no phone battery and no mates in sight. But you’ll always be fine. You could slip and crunch your ankle, falling to lay spread eagled in the  rain, mud and litter and piss. You could eat fatty, greasy food irregularly to fill your stomach with stodge and carbohydrates. By Sunday, you could almost pass for a wino with your beard and cheap wine bar booze*. But you’ll always be fine.

You could end up hitting on strangers, drinking wine (I quote, Morrison’s ‘GOOD SICILLIAN WINE’ in a box) from a plastic bottle, dancing to ‘Come Up and See Me’ next to a burger van in 12 inches of mud. You could end up using the same line each night: “Could you teach me how to dance in wellies?”**

You could get trashed on the last night and then be a little taken back when a scary 50ft clown comes up on the big screen at the Chemical Brothers mouthing “Do it again.”

But dear Glastonbury; as you consume us for the weekend, pulling your pilgrims collectively into your belly-town of fabric houses, marquees and mud, you give us something back. Spirit rises in your people; the rain may be cold and muddy, it may stick to me and become an effort to walk but it will not stop me having a good time. You are a challenge, and each person may approach you differently.

See, you could watch the Magic Numbers in the rain, in more rain, then briefly in a little bit of sun, and feel the smile come across your face when the lead singer looks out across thousands of people in front of the Pyramid stage and says humbly into the microphone, “Thanks for making my dream come true”.

You could see Fatboy Slim, in a dress, stripping to ‘Hot in Herre’ facing 500 welly-wearers, dancing monged in a medium marquee glamourously called a ‘Ballroom’.

You could end up sitting in a tipi, watching the cock dance of a half-naked mate and an old kaftan-clad hippy as they shuffle in their seat, smoke and unconciously (or subconsciously?) flash their willies at you.

You could laugh yourself into stitches when a mate tells you he was pissing hungover into a bottle in his sleeping bag and had too much for the vessel, hence overfloweth.***

You could aim to fulfil an ambition, to see a band that you’ve always wanted to see. But you also know that your stage of debauchery, not you, will define whether you’d get to see them (did: Manic Street Preachers, didn’t: Arcade Fire).

You could wake up in the morning, feeling horrible and form the logic that you can get wasted in order to feel better. And you always, most definitely do.

It’s the opposite to reality there. You communicate and (gasp) people are nice and friendly, they share their resources. They don’t look down at the ground, they look up and smile happy. Glastonbury is the opposite of the Tube.

Two guys even invited us to an ex-wife’s marital blessing at 6pm in the Lost Vagueness chapel. It could have been a lovely story – but unfortunately, you get drunk and forgot. It’s always, always, always the 7% pear cider.

You teach us one thing Glastonbury, reality just isn’t the same. People can’t wander around, getting wasted, watching music, doing what they like legitimately in the real world. The beautiful temporary meetings. Shame on them. But you adjust, you realise that real life isn’t so bad, it does have its good points – family, friends, toilets that don’t make you want to vomit, etc.

But I’ve been there before and I’ll be there again. I love Glastonbury. And I think it loves me too.

J.


*, **, *** (sorry)

if anyone is selling a couple of tickets and isn’t a tout who’s trying to weasel as much money as possible out of fans, I would really appreciate it. Otherwise the tout might seem a bit tempting.

J.

glastonbury buzz.

June 19, 2007

Glasto

To everyone in the world who is going Glastonbury

…see you there!

BUZZ BUZZ BUZZ BUZZ BUZZ! Ludicrously over excited!

I am now on holiday for a bit…

J.

(picture impolitely nicked from my lovely friend, SoftLad).

83_joshhomme_l081105.jpgJosh Homme (from Queens of the Stone Age, Kyuss, Desert Sessions, Eagles of Death Metal and other brilliant things) always makes me chuckle when he does interviews…

Pitchfork: When’d you start to play drums?
JH: I’ve been tapping on tables and chairs since I was little. [laughs] I got into guitar because no parent will buy their eight-year-old kid drums, unless they’re divorced and trying to get back at their wife. You know what I mean?

JH: Banks are kinda cool, you put some money in there. It should be kinda vaguely sexy, but it’s not.

His psyeudonym for some recordings has been Carlo Von Sexron (I laugh everytime I read this)

NME (on Eva Vulgaris): “Mentally, it’s the gnarliest Rubix Cube I’ve ever worked on”

KTVU.com: “And with the music industry the way it is with downloading, to ask artists to play for free … I might as well skip through the English countryside with a flute. One of the things about my generation is that there’s this punk rock guilt where people don’t know what they’re worth and they’re embarrassed to ask for anything for what they do. And that’s something that we need to get over. I don’t need to be the Sultan of Brunei, but at the same time, would you get your hand out of my crotchpouch please? Or at least be sexy about it.”

KTVU.com (on playing a Rock Honours show): I wrote ‘G-U-N-T’ on my arm during our performance at ‘Rock Honors’, because it’s an uncensorable word. Censorship isn’t about intent, it’s just about words that we universally agree are bad. Since ‘gunt’ is uncensorable slang, they actually focused in on my arm. A friend of mine was standing right behind Sharon and she said “Gunt? What the hell is that supposed to be?” I heard that and thought “My work for the day is done.”

Recoil Mag (on the band’s biography that goes out to journalists in advance): “That bio was written by Black Jesus of The Dwarves, and I think he’s bitter because they never asked him to be on the Warped Tour. We just told him, ‘Would you please write a bunch of lies and inflammatory bullshit about us in our bio just to make it more entertaining?’ And he obliged. And to be honest, he read it to me over the phone once, but I’ve never read it myself.”

I really wanted to collate more of these, because I love the guy’s wit, but time (and lunchbreak) is up…

Have a free song, a bonus track from the sessions for Era Vulgaris. A cover of the classic Billy Idol song…

Queens of the Stone Age; White Wedding

(have I nicked that link? You bet I have… Sorry! Oh, and click through to it, don’t right click as I’m not hosting it!)

J.

Too many YouTubes? I can’t particularly write right now. Observe and listening seems easier, too much going on… it’s exciting.

Found this atmospheric, black and white piece that was made by a few people, then posted on YouTube.

Here’s how they put it…

Final version of a video shot to Interpol’s “Hands Away.” Directed by Andy Bruce; starring Taylor Patterson. Serapolis.

Anyway, have a look, I like it.

J.

again and again…

June 4, 2007

J.

It’s funny how people trigger memories, things forgotten and left in your nogin. They sit there, just waiting to be remembered and blared into your headspace, whenever you should begin to recall them.

One I’ve recently had is a song from a band I don’t even really know, or own any of their albums – Elbow. They crafted four minutes and forty-eight seconds of absolute beauty back in… (just go look it up… patience…) 2001 with a song called ‘Scattered Black and Whites‘. It appeared as the closing track on ‘Asleep in the Back‘, which had a lead single, ‘Any Day Now‘, which I’m sure a few people remember.

Anyway, this song is absolutely gorgeous. It is an absolute triumph of colour and timbre to suit a lyric. Beautiful. The ‘scattered’ feeling is immediately conveyed from the brushed drumming, but I think it’s the piano in the song that makes me want to cry. Or at least curl up and fluff the pillow.

Now, I don’t think I can store mp3s on here, but I did a search on elbo.ws and someone posted this song on their blog just 31 hours ago. Amazing. Someone’s thinking of the same song! To download the song, go to this blog here…. 

People and memories triggering reactions, brain processes that can spark off memories of the past; assessment, nostalgia.

A tool for this is Facebook. It’s so popular nowadays, it’s almost unreal. Everyday a different person from the past comes back into your life. Some things great, some things shit, but so’s day-to-day life. ‘Confirm, deny or reject‘ – the choice is yours.

Now a lot of people bang on about how they don’t want anyone seeing ugly pictures of them online, or let anyone ‘iStalk’ them, bosses etc. etc. etc. I pretty much allow everyone to be my friend; if someone puts up a horrible picture of me and tags it for the world to see (insert pic here), well, then I guess it’s my fault for posing in the first place. It’s me. It’s actually what you look like.

I don’t know, I shouldn’t slate people just for thinking it’s rubbish or imposing. It probably is both those things. Each unto their own. But if you want to, just do it. What the fuck does it matter anyway?

In years to come, I’m sure that there’ll be stuff about you on there anyway, only this time, you won’t get to control the flow of information.

J.

burn my shadow.

May 29, 2007

Actually quite excited this lunchtime; there’s a new UNKLE album coming out that I completely wasn’t aware of. I don’t think it’s out for a while, but the first video from it is quite nicely weird and features some guy from ER. Once you see the clock, you almost have to listen to the end of the song; good idea from the marketing peeps…

J.

UNKLE – Burn My Shadow

Carlos DIT seems Carlos D from Interpol is not just happy being in a phenomenal band; he also sees himself as a film composer!

After stumbling across this news item from Pitchfork (complete with nice picture of him and his dog – how cute is that?! – from the website), I’ve found that his aspirations are great – he wants to make magical music for those movies!

His website, as Pitchfork says, is bizzare. What it seems he’s done is compose some scores, then add them onto movies/TV already made. I wanted to embed these, but you’ll have to view them on his website…

http://www.carlosdengler.com

 

Planet of the Apes is even in there! Most of it is nicely ambient.

What I haven’t watched yet but will as soon as I can is the short film online. Not the promo video, this is a short film he scored called Golgotha. I’ll see it over the weekend hopefully.

It’s interesting finding out his kit though (his bio is brilliant), and seeing what he does when he’s not posing, smoking into a microphone and rocking a bass guitar via a holster.

What a guy.

J.

interpol; koko; 15.05.2007;
pioneer to the falls/obstacle1/narc/say hello to the angels/take you on a cruise/mammoth/slow hands/leif erikson/the heinrich manuever/evil/not even jail/length of love/stella was a diver and she was always down/pda

 

interpol, koko

SHOW me the dirt pile, and I will pray that the soul can take, three stowaways; vanish with no guile, and I will not pay, but the soul can wait. The soul can wait.

Not even a word is said before the opening notes tinkle across the crowd and Paul Banks starts to sing. Two years and a month in the waiting, Interpol have returned to me. I just hope by the ‘dirt pile’, he doesn’t mean the 1,500 people sweating and looking up at him with their mouths aghast.

By the time Pioneer to the Falls has finished, many have eased in. The riff to Obstacle 1 hits and the place goes mental. Everyone rushes forward, including myself, and the gig has arrived.

If there’s one thing about Interpol that catches, the elusiveness of the group; their refusal to define or discuss lyrics, their stylish dress and appearance (apart from the bushy moustache currently on the upper lip of Carlos) – it just all adds up and keeps you wondering. How else can you explain people screaming “her love’s a pony, my love’s subliminal” and it each meaning a different thing to different people?

This is a pre-album gig. Hastily arranged, it was one of these magical occasions when you buy tickets and realise that’s actually only 14 days until you see them – and not four or five months as normal. The set is packed with songs that are known. They rampage and roll through classics from Turn on the Bright Lights and Antics, each delivering the crowd into an uncontrolled urge to bounce. Try listening to Slow Hands, before the chorus, and see if you can’t imagine a crowd itching to bounce when the word “spies” hits.

Not Even Jail stumbled but its sheer force seemed to carry it through. That song just reverberates through your chest as it’s played. Take me on a Cruise eases in and my arms link with the person next to me. The encore rolls on and gives us Length of Love, Stella and brilliantly to end, PDA. A mention should go to the Heinrich Maneuver, received brilliantly by everyone, powering like Slow Hands to a frantic climax, showing just how many fans download music before it’s out.

But it’s Say Hello to the Angels that I remember vividly. That song moves you, rolls you and puts you slap bang in a cathartic event, with people knowing every word, shouting a wave of force back to the band.

And while all this unfolds around you, Carlos is there; wandering around, sneaking glances at the other three and smoking into the microphone.

But it wasn’t perfect. The main disappointment was with the venue, the sound just didn’t translate. During new song, Mammoth, I couldn’t really hear a word of Paul. Arguably, if I didn’t love this band so much I’d pick up on more, but Interpol are emotive, they are there for your involvement and you choose your level; stand at the back nodding your head, bounce with the masses or, like me scream the lines that mean the world to you as loud as you can. No moment gives me shivers like the “you should be in my place, you should be in my space” line in Narc. That song means the world to me.

But it’s great. They come, they go too quickly and I feel exhausted by the end of it. I’ve read some reviews already, with people saying the crowd weren’t totally into it. They obviously weren’t standing where I was and they obviously weren’t in their own little world, as much I was.

So as the sweat dries off and I wander outside, I am resenting a position that’s past resentment; ages ’til the next one. Just as long as it’s not two years again.

J.

Seeing Interpol tonight. Should be three new songs from Our Love to Admire. CanNOT wait! More tomorrow (hopefully!)…

our love to admire

josh.jpgA WEEK or so ago, I fulfilled a six year dream. It’s taken me this long to let it leave my head and judge it properly. Maybe this comes off as too personal rather than informative, but tonight was most definitely personal.

Queens of the Stone Age, the magnificent ensemble fronted by Josh Homme, played a tiny gig in central London last week, at the infamous 100 Club. Apparently chosen by the band themselves, the venue was absolutely perfect; intimate, only a slightly risen stage and thin. My friend and I – Mikael – arrived early and decided to queue around 7ish. We met a lovely lass, Michelle, and her husband in the queue, chatted and eventually got in. We got a beer and then actually noticed where we were… and just how fucking small it was. Five or six people were already there, but there was only one place to go:

Right at the fucking front.

But first, some background. I love Queens. Never has such a band had a permanent groove. For years I’ve wanted to see this band and a while back, I got a ticket to a show. Unfortunately, (and not just personally here) the show fell on an awful day – July 7. Needless to say, Queens never played.

Josh and co came back later that year. They just happened to re-arrange the gig at a good venue, Koko in Camden, and even filmed it, along with another show. They made a DVD of it – you may have seen it. Unfortunately I was in Morocco travelling with my friend, Fatboy.

Since then, nothing. Until tonight.

I visit the Rekords Rekords forum now and again, check sites for Queens news and yesterday, while surfing NME for shitty news, I saw the most amazing thing – Intimate Queens Show. I went on, tried to grab tickets, and got fuck all. But I’m persistent.

About 600 F5 refreshes on my Firefox browser at work later… I had two from a resale. Mikael and myself were there. Nothing could stop us now. I had to skip a softball game at work – our debut no less, I know, not the ‘hippest sport’ – but it’s Queens. There’s no choice.

I nearly cried with joy and ended up banging on about it at work for hours. People probably told me to shut up about it. I would’ve realised.

Cut to 9pm, my legs are aching, I have a man’s hand in my back pushing and am wedged between the pushing mosh and the ass of the girl in front. I wish I’d bought another beer. Too late now. Lose the place.

So when they came out it was a huge peak, I thought maybe I’d overlike it. If I’d put out my arm, I would’ve been playing Josh’s guitar. Amazing. The guy is massive. And so it began.

Misfit Love nearly blew my head off and that was the first song, it was forceful, it was powerful, it had groove and it took me about three minutes to realise that the riff hadn’t even changed yet. It was whizzing me by already. I was sweating too. It was just so fucking hot.

Now a lot of ‘critics’ have put their two cents in since and said how disappointing this gig was. Fuck them. This wasn’t for you, this wasn’t for Mr Drowned in Sound I want a greatest hits set – this was to air the new album to close fans. Not journalists. Fans. Sure, you all got in (there’s a LOT of reviews out there for such a secret gig), but that’s down to the management and probably your persistence and mild threats of bad album reviews. That’s why the link for tickets was mailed to only certain people. Sure, I’d love to have heard some of my favourite songs in the world but that’s because I’ve never seen them before. I was more than happy.

Sick Sick Sick, 3s and 7s, Turning on the Screw – these stand out incredibly. 3s and 7s is an amazing riff-driven song that moves on, before inwardly wanking itself off into a joyous tangent. A bass breakdown later and it throws you back into it’s main riff with Homme’s guitar squealing above everything. Outstanding. Sick Sick Sick is probably one of the phattest (with a ‘ph’) songs that I’ve heard live in ages; c-c-c-c-come on.

See everyone there was so joyous, just dancing, ecstatic that they’d even got tickets (I found out afterwards that most of these were the Queens messageboard regulars, who’d helped each other out with guest tickets to guarentee everyone got in).

But some old songs were there, to whip the crowd into a frenzy. I have never heard any drumming like Joey’s in ages. He’s just immense. It was just so relentless, powering and movement-inducing. Mexicola came and went too quickly, as did Little Sister and In My Head. By the time Song for the Dead finished, I felt like I was going to collapse, purely from listening to drumming that quick. If the phrase ‘speed metal’ was ever invented for anything, it was most definitely that.

A girl climbed on stage and kissed Josh whilst he played. Homme raised his Corona to the crowd and drank in tandem. New bassist, Mikey, threw some amazing shapes, stances and twirled his hair like a maniac to the beat. The crowd moved with the beats. Nearly everyone there was awesome, friendly and most importantly… absolutely loving it.

I met one guy, blue t-shirt who’s name escapes me, but singing along to Mexicola with him was so much fun. I’ve really forgotten the simple pleasure of just dancing, singing and thrusting your hand to the ceiling shouting the words of ‘my favourite song’.

And as I sit here writing this now, wearing my skinny white T (£15 from the stand), all I can do is type and listen to them. As Mr Homme and 300 people shouted last week, ‘It’s in my head, and I need it.’

J.

Now then, now then! This is ridiculously over exciting…

I am a huge fan of Interpol. I thought, and still think, that Turn on the Bright Lights is one of the best records I’ve ever heard. Antics is amazing too, and has Narc on it, which is one of my favourite, favourite songs.

Anywho, Mr Banks and co. are back in their dark ways again, playing a series of shows before their new album, I think called Moderation, comes out later this year.

They’re not playing anywhere that I can get to but luckily some beautiful, amazing, brilliant person has ripped a few of the new songs as videos and shoved them on YouTube. Just hope they stay there long enough!

J.

Pioneer

Heinrich Maneuver

Mammoth (shot over some guy’s shoulder!):

Guten Tag,i'm enraged!

So blogging seems to be dying a very slow death for myself lately. The cull of the Internet access at home, now multiplied with glorious long night debates about future living situations has left me wondering whether I’m ever gonna get Broadband ever again.

And I was enjoying it so much.

Anywho, work is work, life is life, but whatever the situation and whatever the time, there’s always pictures and music. So today (and admittedly this post is being written at work in my lunch break…) we talk about music very quickly.

Quite excited today, Nine Inch Nail’s new album, Year Zero, comes out which I will hopefully purchase this afternoon. (edit: just bought it, great artwork from Trent again, looks so bloody stylish)

I wrote about it’s insane marketing campaign a while back but here comes the real test, the music. What I’ve heard (visit elbo.ws and type in ‘Nine Inch Nails’) I have for the most side absolutely loved. How it all strings together, and the narrative of the piece will become clearer the more and more we get along.

Personally, I’ve always loved Trent Reznor, but I find him much more appealing if I feel the music is developed and subtle and not just ‘had’ and shouty for the sake of it. How a man can write Starfuckers, Inc., alongside La Mer puzzles the hell out of me. But some of the new songs, My Violent Heart, for example, are powerful, emotive and feel like they’ve been loved. I can’t wait.

Also, I love Queens of the Stone Age and Josh Homme has done a really long interview with Pitchfork about their new album…  the Era Vulgaris. If you like Queens, you should definitely read it. There’s also a version of the song Josh did with Trent Reznor, for the album, Era Vulgaris, over on MySpace under their new profile. I can’t listen to it properly as I’m at work, but I will later.

“I’ll play a game til I’m dead…”

Homme is such a legend though, the interview’s good, interesting.

“You know, it’s like that old saying: “Drink one beer, but you’re not an alcoholic. But play one cowbell, and you’re a cowbellaholic.””

Anywho. Later we’ll take about some cool images I found from a nice gent on flikr. He’s just sent me a mail. Nice bloke. Really good pix.

J.