Recent musical acquisitions-
Charlotte Gainsbourg, "5.55"- Most reviews of music by the children of established stars spend 3/4 of the review declaring that s/he should not be judged in the light of their famous parent, and then spend the last 1/4 doing just that. Of Charlotte Gainsbourg I shall say just that she is the daughter of Serge, and if you don't know who he is then go Google him.
You might expect any album by a contemporary French artist to sound like Air, and this does- mainly because it was largely written and played by them. Jarvis Cocker and Neil Hannon contribute as well, so there is some edge and angst, but the musical feel is the dreamy flow of Moon Safari. As La Gainsbourg's mother is Jane Birkin, it's no surprise that she sings in English, but the real surprise is her cut-glass diction. At times it's like listening to the posh bird behind the M&S checkout considering Sartre. If you like any of the names mentioned above in their own right, then this will probably do it for you.
Aimee Mann, "The Forgotten Arm"- A little like Joni Mitchell, though nowhere near the same extent, Aimee Mann is a great songwriter whose voice just grates on me sometimes. Thankfully, the sound of this album is far richer than "Bachelor No. 1", and her vocal doesn't strain high and dry in a trebly surround. And it rocks a good bit harder too. Ostensibly a "concept" album following a junkie couple's tribulations, the drums, guitars and pianos crunch behind unflinching lyrics. Brilliant.
"Live Forever"- Pure nostalgia, I admit. A bunch of hits from the mid-90s, ostensibly "Britpop", but including the likes of Garbage and Massive Attack. Mostly still sounds great, apart from those that were already clinkers. Echobelly really did rock ! "Live Forever" is actually a good song, despite overplay ! "Alright" was great but is now too familiar. The Lightning Seeds are still utterly soporific. And her out of Republica really could not sing, but looked great in leather strides.
Sunday, November 26, 2006
Tuesday, November 21, 2006
I keep reading these ridiculously alarmist articles about "The Tartan Timebomb" and the imminent breakup of the UK. For what it's worth, my utterly unreflected upon and personal take is thus-
Anyone who still believes in independence, or even devolution for Scotland due to its history as an independent nation is a sentimentalist. Scotland has not done badly at all out of being united with England, and the only good reason for devolving power back up north is that it is generally a good thing if decisions are made down the road rather than 100s of miles away. If you still believe all that crap about how much Scottish industry et al has suffered then go look at Liverpool, Newcastle, the Midlands and any other part of England that has suffered from the decline of manufacturing.
Now that Scotland has its own parliament, it is only right and proper that Scottish Westminster MPs should renounce the right to vote on issues which MSPs in Holyrood actually have authority over in Scotland (the so-called "West Lothian question"). English MPs have no such double mandate, so why vice versa ?
If the issue of actual independence or dissolution of the Union actually becomes a real issue, I expect most people north of the border to brick it, basically. The scottish national spirit is one that appears only briefly, at times of international sporting events, and rapidly recedes. If it was the dormant lion rampant it's made out to be, then the Scottish population would have turned out in sufficient numbers to achieve the meager margin required in the 1979 referendum, and would have given the 1997 vote a far more ringing majority. (Maybe if Braveheart had been even more riddled with historical inaccuracies that might have happened).
When faced with the prospect of governing their own country, already characterised by farcical overspending on the parliament building, the immediate onset of graft within the Labour party and the pantomime which is the SSP, most Scots will pine for the days when they could just blame it on the English and the 1978 world cup, just like they always have done.
Anyone who still believes in independence, or even devolution for Scotland due to its history as an independent nation is a sentimentalist. Scotland has not done badly at all out of being united with England, and the only good reason for devolving power back up north is that it is generally a good thing if decisions are made down the road rather than 100s of miles away. If you still believe all that crap about how much Scottish industry et al has suffered then go look at Liverpool, Newcastle, the Midlands and any other part of England that has suffered from the decline of manufacturing.
Now that Scotland has its own parliament, it is only right and proper that Scottish Westminster MPs should renounce the right to vote on issues which MSPs in Holyrood actually have authority over in Scotland (the so-called "West Lothian question"). English MPs have no such double mandate, so why vice versa ?
If the issue of actual independence or dissolution of the Union actually becomes a real issue, I expect most people north of the border to brick it, basically. The scottish national spirit is one that appears only briefly, at times of international sporting events, and rapidly recedes. If it was the dormant lion rampant it's made out to be, then the Scottish population would have turned out in sufficient numbers to achieve the meager margin required in the 1979 referendum, and would have given the 1997 vote a far more ringing majority. (Maybe if Braveheart had been even more riddled with historical inaccuracies that might have happened).
When faced with the prospect of governing their own country, already characterised by farcical overspending on the parliament building, the immediate onset of graft within the Labour party and the pantomime which is the SSP, most Scots will pine for the days when they could just blame it on the English and the 1978 world cup, just like they always have done.
Tuesday, November 14, 2006
Greetings to my massed audience of millions. As I might ask my students, may I enquire as to your perceptions viz a viz this picture ? Prithee, what do you think he's doing, and where do you think he is ? (Though admittedly when it's reduced to Blogger siz e you probably won't be able to tell either of them)
Sunday, November 12, 2006
Listening to "Stranger's Almanac" by Whiskeytown, which a friend burnt for me when I moved to Cambridge in 2001, and it reminds me very much of that time. Starting work at a new school (literally) while still my DELTA course part-time, and being in a constant state of stress. Turning 30. 9/11. Sharing a series of chaotic houses. The most depressing (and now just embarrassing) crush I have ever experienced (from me on someone else, I hasten to add). The omnipresence of Kylie Minogue's arse.
Generally a lot of grief (except the latter). But I survived it. Apart from getting knackered a little easier, I suppose there's nothing to stop me surviving the same sort of thing again. Actually making a proper fist of something creative might be similar.
Generally a lot of grief (except the latter). But I survived it. Apart from getting knackered a little easier, I suppose there's nothing to stop me surviving the same sort of thing again. Actually making a proper fist of something creative might be similar.
Saturday, November 11, 2006
Haven't written anything in a while, which is quite a good sign in terms of having a life, however I did up spending last night (Friday) scoffing cheap wine and watching DVDs (Dig !- hilarious, The Libertine- tedious).
Dig ! is a documentary following the relative fortunes of two bands, The Dandy Warhols and The Brian Jonestown Massacre, over almost a decade.
The Dandy Warhols will probably be familiar now to most people courtesy of their song "Bohemian Like You", used in a Nokia ad a few years ago. However, at the film's start, in 1995, they are just as unknown as their friends and compatriots the BJTM. Despite their rampant egotism, the Dandys retain enough professionalism to get a record deal, tour consistently and achieve success. The BJTM, meanwhile, spiral into chaos, mostly generated by their psychotic vocalist, Anton Newcombe. The BJTM is basically him, as the Fall is Mark E Smith. His various triumphs include-
-You have a gig where the reps of a certain record company will decide whether or not to sign you. Of course the sensible thing to do is to start a fight with your guitarist.
-You get a record deal and are given the money to house your band, build a studio and record an album. Naturally, you develop a heroin problem.
All of this is so typical it's almost tedious, though the scale of Newcombe's problem makes it more compelling. The interesting revelations mostly concern the nature of the music industry. Most of what it describes is now almost out of date. Most companies cannot afford to operate any more on the basis described. Basically, indie companies usually had one major act (eg Oasis on Creation, Depeche Mode on Mute), whose mass success cushioned the failures of other acts (on a scale of only 1 in 10 albums actually recouping its costs). As is observed in the film, no other industry would tolerate that ratio of risk to success.
It's a little depressing for someone on my scale. I've just finished recording, mixing and mastering enough songs to release a new "album", but really, who cares ? It would be feasible for me to get it into shops, pretty much, but without widespread reviews and radio play it would just gather dust on shelves. I doubt if the download generation would be interested in the noodlings of a 30something songer-songwriter, so that just leaves me with the traditional means. That would involve potentially massive debt, even if I were to succeed in getting some exposure.
Life-changing stuff, which would shift the nature of it completely from its present status of glorified hobby, but with the risk of complete failure, like any business venture. Fuck.
Dig ! is a documentary following the relative fortunes of two bands, The Dandy Warhols and The Brian Jonestown Massacre, over almost a decade.
The Dandy Warhols will probably be familiar now to most people courtesy of their song "Bohemian Like You", used in a Nokia ad a few years ago. However, at the film's start, in 1995, they are just as unknown as their friends and compatriots the BJTM. Despite their rampant egotism, the Dandys retain enough professionalism to get a record deal, tour consistently and achieve success. The BJTM, meanwhile, spiral into chaos, mostly generated by their psychotic vocalist, Anton Newcombe. The BJTM is basically him, as the Fall is Mark E Smith. His various triumphs include-
-You have a gig where the reps of a certain record company will decide whether or not to sign you. Of course the sensible thing to do is to start a fight with your guitarist.
-You get a record deal and are given the money to house your band, build a studio and record an album. Naturally, you develop a heroin problem.
All of this is so typical it's almost tedious, though the scale of Newcombe's problem makes it more compelling. The interesting revelations mostly concern the nature of the music industry. Most of what it describes is now almost out of date. Most companies cannot afford to operate any more on the basis described. Basically, indie companies usually had one major act (eg Oasis on Creation, Depeche Mode on Mute), whose mass success cushioned the failures of other acts (on a scale of only 1 in 10 albums actually recouping its costs). As is observed in the film, no other industry would tolerate that ratio of risk to success.
It's a little depressing for someone on my scale. I've just finished recording, mixing and mastering enough songs to release a new "album", but really, who cares ? It would be feasible for me to get it into shops, pretty much, but without widespread reviews and radio play it would just gather dust on shelves. I doubt if the download generation would be interested in the noodlings of a 30something songer-songwriter, so that just leaves me with the traditional means. That would involve potentially massive debt, even if I were to succeed in getting some exposure.
Life-changing stuff, which would shift the nature of it completely from its present status of glorified hobby, but with the risk of complete failure, like any business venture. Fuck.
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