It has recently come to my attention that not only do some of you people have lives outside of Sputnik but that there is an entire new phenomenon in this earth known as “blogging.”
Apparently there are individuals who see fit to condense their thoughts on music into chunks of less than a thousand words (daft, I know) – perhaps with the aid of media devices such as video – and see fit to do so on this strange new “blogging” format. In the spirit of togetherness, I have decided to recognise this trend and compile a list of staff and user blogs. We may even add a blogroll at some point.
Please feel free to link to your blog down below and I’ll do my best to add you to the list. Unless I don’t like you. In which case, futch ya.
It’s difficult to get a handle on Frank Turner’s solo career.
He’s released three full-length albums (and is about to release a fourth), but even right after Love, Ire & Song came out, he was a folk hero, an emotional icon with all the requisite traits: honesty, longing, anger, and an acoustic guitar. This was all with good reason. Although his solo career blossomed in the wake of post-hardcore band Million Dead’s demise, he was more than your typical ideological punk singer turned folk artist right from the start. His songs didn’t feel like acoustic versions of Million Dead songs, and even when he recorded the occasional cover of a Million Dead song, such as “Smiling At Strangers On Trains,” he was able to turn them into completely different works. He was so good that many of the people who started listening to him after Love, Ire & Song didn’t even realize that he was the same skinny kid from Million Dead.
However, his endeavors as of late haven’t received the acclaim that his earlier works did. Most recently, his Rock & Roll EP received criticism and even whispers that Turner was running out of ideas and becoming lazy with his songwriting. Judging the EP critically is difficult because it’s hard to tell whether he really was trying his hardest or if the songs were written with the sole intent of serving the theme of “rock ‘n’ roll.” The latter would seem to be the case, judging by the aesthetics…
I’ll drop some further notes on this in the morning, but for now I’ll invite you all to tune in to the live broadcast of the sixth annual Choice Music Prize (the Irish Mercury Prize/Polaris/Triple J awards) ceremony.
The show has already been in progress for a little over an hour, with Halves and Fight Like Apes having already completed their sets. James Vincent McMorrow is performing as I speak and the rest of the nominees, with the exception of Imelda May who’s otherwise engaged, will take to the stage as the night progresses.
Today FM DJ Paul McLoone will be interviewing the performers between sets and chairman Tony Clayton-Lea of the Irish Times will announce the winner at around 10.45 GMT. And Morrissey is there! You can read some of my more detailed thoughts on this year’s prize here.
A full list of nominees can be seen here:
Adebisi Shank – This is the Second Album of a Band Called Adebisi Shank The Cast of Cheers - Chariot Cathy Davey - The Nameless Fight Like Apes – The Body of Christ and the Legs of Tina Turner Halves – It Goes, It Goes (Forever and Ever) Imelda May – Mayhem James Vincent McMorrow – Early in the Morning O Emperor – Hither Thither Two Door Cinema Club - Tourist History Villagers - Becoming a Jackal
Previous winners include Jape, the Divine Comedy, Super Extra Bonus Party and Julie Feeney. Adrian Crowley won the 2009 gong.
I’ll let this video speak for itself, however, for reference I suggest you listen to the original track before listening to the orchestrated transposition of “Jane Doe.” The maker of the video used a program called Symphobia to create this: needless to say, it sounds incredible.
Amid all the excitement generated by Odd Future pair Tyler, the Creator and Hodgy Beats’ show-stealing appearance on Late Night with Jimmy Fallon, nobody seems to have noticed that they sold out.
Not that there’s anything expressly wrong with that – it’s just interesting to note when a group that have built their reputation on the uncontrolled, self-consciously offensive speech abandon that schema at the first offer of a plush TV spot. With little or no material in their armoury that would be deemed suitable for network television, Tyler and Hodgy took to the NBC stage with an altered version of new single ‘Sandwitches,’ minus the four f-words contained in the first line and numerous instances thereafter.
In spite of Tyler’s liberating use of the entire set during his performance and an unusual diversion involving a gnome, the duo’s performance was notable for how tame it was in comparison to the group’s deliberately provocative material. Tyler’s debut mixtape, 2009’s hugely promising Bastard, runs the gamut of hip hop clichés from misogyny, homophobia and rape fantasies right through the trite devotion to his mom. The beats are simplistic and undeniably raw, but there’s an obtuse sense of melody on tracks like ‘Odd Toddlers,’ ‘French!’ and ‘Bastard’ that hint at the potential of this 19-year-old, husky-voiced artist.
The concept of a hip hop collective is one that is alien to most rock critics who are wedded to the ideal of the nuclear four- and five-piece rock band, but the…
I’ve listened to a lot of mashups in my day. Normally they are party tracks that take a popular club beat and superimpose the vocals of a top 40 track of the moment ala Girl Talk or sometimes they tend to dig a little bit deeper to give us something like last year’s Kids and Explosions or the noted Jay Z/Linkin Park collaboration, but every once and a while I’ll stumble upon a mashup that truly leaves me floored. Four Tet’s mash up of Nas’ “It Ain’t Hard to Tell” with Godspeed You! Black Emperor’s “Sleep” is simply mesmerizing. The ebb and flow of Nas’ rhymes and the gentle swell of strings that build and build come together so flawlessly that it was almost as if they were made for each other.
This has been everywhere on the Internet today, but for those who, for some reason, have missed out on what will almost certainly end up as a defining moment for hip-hop in 2011, then watch the video below. Unbelievably, OF manages to scare the fuck out of old white people in middle America, make Fallon watchable (and even sorta cool), and make Mos Def go totally insane, in less than four minutes. These guys are so totally gonna blow up like crazy. Swaaaaaaag
There’s a lot of great sites out there offering interesting, artistic and often unique videos of the artists you love talking, creating and playing music. Here are some you should definitely know about:
I’ll say this straight away: The Take Away Shows series produces some of the most consistently incredible videos of any of the sites I’ll post in this blog. Started in 2006 as an expansion of La Blogotheque, director Mathieu Saura (under the pseudonym Vincent Moon) began filming one-take videos of artists playing songs in completely regular settings (someone’s apartment, taking a walk down the road, on a park lawn) and often stripped down and/or acoustic. He has since gone on to film music documentaries for The National, R.E.M. and Beirut amongst others, but it’s his Take Away project that really shines, having now produced over 120 videos.
Yeah, yeah, yeah, you guys can rip on the Fork all you want but the .tv side of the site compiles some of the best music videos out there. From the Daytripping sessions with artists like Bon Iver and The Black Keys, to the Tunnelvision live series, and not least of all, the Special Presentation videos featuring…
Sometimes history is hard, you guys. I mean big history. Like, Hegelian sized history. History that spans across entire civilizations and generations. It’s hard for us because sometimes that historical meta-narrative is forever just out of each. There are moments, though, when we are thrown a little bone by the gods; we are given a fragment in time that simply defines a generation, nay, an entire civilization. Roman antiquity had Caligula naming his horse as his consul, Early Modern Europe had the Defenestration of Prague, The Victorian Period… was just depressing, and the 1990’s had Sockem Boppers with arguably the greatest commercial jingle of all time.
But what about our generation? Where’s our summarizing event? Sure, some might argue it’s Radiohead’s Kid A in long, pretentious, essayist reviews. Others might even claim this war, or that war, or the internet, or other such fads. I will not mince words: these are all horribly inaccurate. I know these suggestions are inaccurate because I myself have seen the very moment that defines our generation.
It has a little bit of everything: fat men breakdancing, rastlin’, grown men in silly costumes, historical inaccuracy, hypnosis, hillbillies, borderline mental deficiency, music that isn’t even from our generation, overzealous commentators. In so many words, this is our generation in a nutshell. A glorious, glorious nutshell.
Roland Barthes theorized that there are two types of text: the text of pleasure and the text of bliss. The text of pleasure is simply that which washes over you in an aesthetically pleasing manner; the text of bliss, however, forces you to question your very…
British film composer John Barry died of a heart attack on Sunday aged 77.
Barry was best known as the creator of the music for the James Bond film, including the famous Bond Theme, although he was the recipient of no fewer than five Academy Awards: two for Born Free (best original score and bestoriginal song) and best original score for Dancing with Wolves, Out of Africa and the Lion in Winter. Other notable scores and soundtracks included Midnight Cowboy, Goldfinger and From Russia with Love.
Barry is survived by four children and three ex-wives.
Brazil is a pretty lax place.You can get away with a lot of things most of the time: looting, mugging, rape, murder… even mullets are allowable. You can even form a four-piece rock band to play outdated mid-tempo rock at what appears to be some sort of outdoor festival for people who have no room for a proper stage.
But Lord help you if you screw up the guitar solo while the singer is backstage combing over his bald patch. You have been warned.
It is often said of Kurt Cobain, the late Nirvana singer, that he wasn’t half as good a musician in life as he became after he died. Much the same could now be said for Mark Knopfler who, while not dead, has suffered a fate far more damaging to a musician’s spirit: censorship.
Knopfler, whose popularity peaked at the dawn of MTV era as frontman of rock band Dire Straits, has seen his previously unheralded lyrical ability upgraded in some quarters to that of a master satirist in light of a Canadian Broadcast Standards Council (CBSC) ruling on his band’s 1985 hit ‘Money for Nothing. The CBSC, the Canuck equivalent of the United States’ FCC, informed the nation’s radio stations that in future broadcasting the unedited recording of the track, which features repeated use of an offensive term aimed at homosexuals, would be considered a violation of the its Code of Ethics. In short: don’t play it.
The prohibition came about in response to a complaint from a member of the public – a 21-year-old gay woman from Newfoundland – who heard the full unedited version broadcast on regional classic rock station CHOZ-FM. The song contains the word “faggot” three times in quick succession, spoken from the perspective of a character voiced by Knopfler. The track was heavily criticised at the time of its release for vague implications of racism and sexism, though the CBSC’s edict relates only to the actual wording of the song.
How bad does a song have to be to get rejected from a free-to-download tribute album? Listen to Thursday’s cover of Bad Religion’s “Generator” and decide for yourself.
While Geoff Rickley & co. manage to redeem themselves ever so slightly in the song’s straightforward second half, it’s no small feat how the first half of the track turns a punk classic into a bunch of moaned gibberish. Listening to the first half of the song had me thinking that it might be the worst thing I’ve heard all year, and I just finished listening to a song by Clown from Slipknot’s side-project. How’s that for context?
If you think I’m being hyperbolic you obviously haven’t heard the cover, so click the play button and decide for yourself
Your ears not bleed out? Why not listen to the original in it’s un-neutered glory.
Oh, and if you want to download Germs of Perfection: A Tribute to Bad Religion, click here. Don’t worry, this song isn’t on it. Instead you’ll get covers by the Weakerthans, Frank Turner, Tegan and Sara and many more.