Well, well, well.....update to the Cut Copy post from a week or so ago. Just seen an ad for a March UK release of 'Neon Bright Lights' in Vice magazine (it's very sick this month, esp the gross jar). Pester your local music store to get it in, and to pass the time why not go looking for a nice pair of pink leg warmers to go with it?
One band in a similar style as Cut Copy are The Real. Check out their website to get the latest gig listings, sounds and all The Real news that's fit to print. They've recently played Death Disco (they'll be back there again in May) and other ace places that young kids like to frequent these days. Keeps 'em off the streets I guess.
STOP PRESS: The Real's dashing lead singer Kyle has informed me that they're changing their name but is keeping it under wraps till the time is right. The moment I find out I'll let you know.
Thursday, February 17, 2005
Thursday, February 10, 2005
Nope, not the Beach Boy
A great music blog from Canadian critic Carl Wilson, who has scooped the artwork to the new Beck album 'Guero' (which is going to bring back all the Odelay fans in droves). Also has a touching tribute to old-school blogger, and KIN records man, Nick Kilroy who died earlier this week.
Tickets sorted to Slint, LCD/Soulwax/Go-Team and Willie Mason. Star Green loved me yesterday...
Tickets sorted to Slint, LCD/Soulwax/Go-Team and Willie Mason. Star Green loved me yesterday...
Monday, February 07, 2005
Slack blogging, huh?
I confess, I have been a bit tardy recently with coming back from Australia, and searching for a new abode. However, in a fortnight it should all be fine and with the power of broadband Major Leaguer will be resume normal transmission.
Here's a few things that made me prick up my ears this week...
* My favourite Beatle playing at the Superbowl (which sadly was won by New England...dammit!)
* A cool documentary about the LA rock mover and shaker Rodney Bingenheimer opens here on Friday (UK)
* Pete Doherty spends the weekend in the slammer (were you surprised?)
* and I'm going to get my A into G and get my ticket to Slint at the Astoria
Album of the week - John Legend 'Get Lifted'
Very sweet, souful offering from a man who's worked with some memorable soul and hip hop artists over the past decade, and now has his own chance to shine thanks to Kanye West. Some tracks are a bit slight, but on the whole it's a smooth and enjoyable first album. Worth admission just for the West-produced 'Used To Luv U' and the gorgeous title track.
Here's a few things that made me prick up my ears this week...
* My favourite Beatle playing at the Superbowl (which sadly was won by New England...dammit!)
* A cool documentary about the LA rock mover and shaker Rodney Bingenheimer opens here on Friday (UK)
* Pete Doherty spends the weekend in the slammer (were you surprised?)
* and I'm going to get my A into G and get my ticket to Slint at the Astoria
Album of the week - John Legend 'Get Lifted'
Very sweet, souful offering from a man who's worked with some memorable soul and hip hop artists over the past decade, and now has his own chance to shine thanks to Kanye West. Some tracks are a bit slight, but on the whole it's a smooth and enjoyable first album. Worth admission just for the West-produced 'Used To Luv U' and the gorgeous title track.
Wednesday, February 02, 2005
Subter.com - Issue One
Well, Subter.com is up and running so why don't y'all check it out? Sure, I may have a column on the site but don't let that put you off....everyone involved has done a fantastic job, the columns and articles are well written, and it looks classy too. Well done Brad...
Returning to London yesterday, I was greeted by the lovely site of Pete Doherty looking wasted on the front page of the Evening Standard. It's good to see that some things don't change in two months. As for his new best friend Ms Moss, well, the less said the better.
Album of the week - Cut Copy 'Neon Bright Lights'
The pop hooks of New Order mixed with the glimmering dance sensibilities of Royksopp. Production work on the album is from Cassius's Phillippe Zdar. Lovely, just lovely. No UK release yet, but you should be able to order it on Australian import from your local record store. Over and out.
Returning to London yesterday, I was greeted by the lovely site of Pete Doherty looking wasted on the front page of the Evening Standard. It's good to see that some things don't change in two months. As for his new best friend Ms Moss, well, the less said the better.
Album of the week - Cut Copy 'Neon Bright Lights'
The pop hooks of New Order mixed with the glimmering dance sensibilities of Royksopp. Production work on the album is from Cassius's Phillippe Zdar. Lovely, just lovely. No UK release yet, but you should be able to order it on Australian import from your local record store. Over and out.
Monday, January 31, 2005
Hey Hey Hey Superstar! I love Japan...
Apologies for recent tardiness - I'm making up for it in a hotel in Tokyo on the way back to London. Just finished watching J-Pop show called Hey Hey Hey Superstar...it was bliss even though I didn't understand a single word of it. However, I now have glorious colours running through my head and probably won't be able to sleep at all tonight (every Japanese TV show seems to be both loud and colourful).
Big Day Out last week was the usual sunburnt festivas of music. Highlights were Le Tigre, Cut Copy and Kid Koala. 'Twas fun to see the Beasties, and I also caught a glimpse of a few choice Australian bands (although missed the two next big Aussie bands, Wolfmother and The Cops).
Album of the week? Cut Copy - mix 'tween Royksopp and New Order...yummy...
Subter.com Issue 1 this week as well, as if I hadn't mentioned it already.
More Majorleaguer in a few days time. Time to sleep 'n' fly...
Big Day Out last week was the usual sunburnt festivas of music. Highlights were Le Tigre, Cut Copy and Kid Koala. 'Twas fun to see the Beasties, and I also caught a glimpse of a few choice Australian bands (although missed the two next big Aussie bands, Wolfmother and The Cops).
Album of the week? Cut Copy - mix 'tween Royksopp and New Order...yummy...
Subter.com Issue 1 this week as well, as if I hadn't mentioned it already.
More Majorleaguer in a few days time. Time to sleep 'n' fly...
Thursday, January 20, 2005
Barney's back...
The lads from New Order broke their silence this week about their new album 'Waiting For The Sirens To Call' which is out on March 28. I say lads as keyboardist Gillian Gilbert has taken a longer sabbatical than previously planned, and her place has been taken by touring guitarist Phil Cunningham.
Initial reports of 'Waiting...' are promising indeed, with tradmark hooks (no pun intended), silly lyrics and fantastic pogoing rock/dance songs aplenty. Looking forward to March already...
Initial reports of 'Waiting...' are promising indeed, with tradmark hooks (no pun intended), silly lyrics and fantastic pogoing rock/dance songs aplenty. Looking forward to March already...
Wednesday, January 19, 2005
Band Weblogs
This site is still in it's infancy, but looks good so far, and is full of links to heaps of music-related blogs (both from musicians and writers). It also has a link to Dave Navarro's blog as well, reason enough to check Band Weblogs out.
Subter.com is starting to look good, and having just finished my first column (or at least the inital draft) for the site, I'm looking forward to seeing Issue One in all it's glory on Feb 2 (which is also Graham Nash's birthday!)
Splitsville: Ikara Colt have broken up after their set five-year period of existence, which was frankly five years too long, but I'm more sad about these guys. Oh, and these guys too. All together now, "We live in the Year 3000..."
Subter.com is starting to look good, and having just finished my first column (or at least the inital draft) for the site, I'm looking forward to seeing Issue One in all it's glory on Feb 2 (which is also Graham Nash's birthday!)
Splitsville: Ikara Colt have broken up after their set five-year period of existence, which was frankly five years too long, but I'm more sad about these guys. Oh, and these guys too. All together now, "We live in the Year 3000..."
Monday, January 17, 2005
Albums to look forward to in 2005 - January
It looks like being a good start to the music year with a few tasty treats coming this month. Here's what Major Leaguer is looking forward to hearing...
January
Mercury Rev - Secret Migration
Trail of Dead - Worlds Apart
Low - Great Destroyer
LCD Soundsystem - LCD Soundsytem (James Murphy can do no wrong)Bright Eyes - Digital Ash/I'm Awake...
Roots Manuva - Awfully Deep
Rilo Kiley - More Adventurous (finally getting a UK release)
Not bad for what's traditionally a quiet month for music releases. Plus, the new Chemical Brothers album sounds promising. The tracks I've heard so far aren't too shabby, and Believe, featuring Kele from Bloc Party, is a sure fire club banger. So go spend some dough on at least one of these beauties, or in the case of Bright Eyes both of them, so you can stop listening to the crap records you were given by your folks for Christmas. I'll never listen to that Neil Diamond boxset if you paid me (except for Crunchy Granola - good lord!)
January
Mercury Rev - Secret Migration
Trail of Dead - Worlds Apart
Low - Great Destroyer
LCD Soundsystem - LCD Soundsytem (James Murphy can do no wrong)Bright Eyes - Digital Ash/I'm Awake...
Roots Manuva - Awfully Deep
Rilo Kiley - More Adventurous (finally getting a UK release)
Not bad for what's traditionally a quiet month for music releases. Plus, the new Chemical Brothers album sounds promising. The tracks I've heard so far aren't too shabby, and Believe, featuring Kele from Bloc Party, is a sure fire club banger. So go spend some dough on at least one of these beauties, or in the case of Bright Eyes both of them, so you can stop listening to the crap records you were given by your folks for Christmas. I'll never listen to that Neil Diamond boxset if you paid me (except for Crunchy Granola - good lord!)
Thursday, January 13, 2005
Q-Tip jumps ship (again)
So it looks like another Q-Tip album could be dead and buried. Kamaal the Abstract has just inked a contract with Mowtown, leaving Dreamworks only two years after he left Arista, the label who wouldn't release his self-titled album because it was 'not commercial enough' (or maybe because it was a bit too self indulgent and jazz-noodly). Q-Tip had finished his Dreamworks debut way back in late 2003, and there was even a February 2004 photo-shoot for the album's cover, but with his move to Mowtown it's unclear whether 'Open' will now be released. Oh, and still no word on a possible new album from the Tribe, which means Phife might have to finally get a 9-5 job. Kinda reminds me of that 'Adopt a Rapper' skit on Doggy Fizzle Televizzle....
Prefuse 73 and Ghostface!
Stacks of good news today from Pitchfork . New Prefuse 73 album should be interesting, especially with Ghostface and Broadcast lending a hand (Major Leaguer is always down with Pretty Toney, especially if he's spitting verbs with El-P....dyn-o-mite!).
Also for London readers, get your tickets now for the Secret Machines gig at Brixton Academy. The brown underpants are already on in anticipation. Hang on, these weren't brown when....crap. Excuse me for a moment...
Also for London readers, get your tickets now for the Secret Machines gig at Brixton Academy. The brown underpants are already on in anticipation. Hang on, these weren't brown when....crap. Excuse me for a moment...
Wuthering, Wuthering, Wuthering....
Whaddya know? Ms Bush made the select five nominees for the Brit Awards (sorry, Brits25) song of the past 25 years. So did Joy Division, Queen, Mr R. Williams, and the man I hoped wouldn't get through....sigh. OK, if you're inclined to vote in popularist awards such as this(where in even more absurd news Tom Waits and Brian Wilson get nods for Best International Male!) then click here for the Brits site. The second round of voting for Ms Bush and the rest takes place from Friday 21st January to Sunday 30th January. I'll forgive you if your mad props go to Ian Curtis instead, but just not Robbie or Will, OK? Thus endeth today's rant.
In other news, it appears to be an unwise move to blog about work. You have been warned....
In other news, it appears to be an unwise move to blog about work. You have been warned....
Tuesday, January 11, 2005
A teaser for Subter.com
This was going to be part of my first column for Subter.com. However, I've decided to post it here and provide some fresher picks when Subter goes live from early February. Plus, it makes up for my lack of blogging for the last few days (hey, come on people, it's summer down here!). I'm not going to link any of them for the moment, so it's up to you guys to go find them (yeah, I'm sure you'll just Google them like everyone else). The Low album is pure gold, and real purrrty too.
Notes from the Underground picks for January 2005
Low – The Great Destroyer
For their first Sub Pop outing, the Minnesota trio enlist the services of producer Dave Fridmann (Flaming Lips, Mercury Rev). While this move helps hone Low’s hidden pop talent (California for a career highlight anyone?), there remains a darker element that’s impossible to escape, yet too beautiful and fragile to ignore.
Perfect for: that long walk along a country road at 2:00AM under a bed of stars.
Mercury Rev – The Secret Migration
If you need a second hit of Dave Fridmann enhanced tunage, look no further than the latest set of psych-lullabies from the Rev. If you’re aware of the band's ouvre, then there’s nothing here you haven’t heard before. However, music this lovely is always worth a second helping.
Perfect for: watching the sunset with your imaginary friend.
Pinback - Summer in Abbadon
Evoking the sounds of Death Cab for Cutie, Elliott Smith, and heck, even Fugazi, Pinback release their most consistent effort to date. Although released in the second half of 2004, word of mouth has ensured it’ll no doubt be on the stereo of your local indie store for many months to come.
Perfect for: your next road trip, whenever that may be.
dEUS: The Ideal Crash
With a new set from Tom Barman’s band imminent, it’s time for a refresher course on the best Belgian group around. Swathed in a mix of strings and percussion that shift from menace to innocence in a heartbeat , 1999’s The Ideal Crash holds your attention in a vice-like-grip from the very first listen. The shift from dark to light on One Advice, Space, the giddy nature of Let’s See Who Goes Down First, and the heartbreak of The Magic Hour would be highlights on any decent rock album. With Instant Street though, dEUS really let fly, reaching rarely seen pop heights before entering a sonic tailspin and crashing in a blaze of glory.
Perfect for: enhancing that bout of turbulence during a long-haul flight.
And You Will Know Us By The Trail Of Dead – Worlds Apart
Criminally ignored by their record company Interscope (Worlds Apart has been ready for release for quite a while, but wasn’t able to obtain a ‘slot’ during the lead-up to the music industry cash-cow that is Christmas), the follow up to Source Tags And Codes finally sees the light of day. Although not reaching the heights of previous Trail of Dead albums, with the band preferring to expand their repertoire of jaunty orchestral anthems, the rare occasions where they shoot from both barrels (such as Will You Smile Again For Me) are thrilling. Worth catching live as well, especially for their twin drumming assault and tag team switches between, and during, songs.
Perfect for: creating a worthy soundtrack whilst reading Hellboy and Preacher comics.
Notes from the Underground picks for January 2005
Low – The Great Destroyer
For their first Sub Pop outing, the Minnesota trio enlist the services of producer Dave Fridmann (Flaming Lips, Mercury Rev). While this move helps hone Low’s hidden pop talent (California for a career highlight anyone?), there remains a darker element that’s impossible to escape, yet too beautiful and fragile to ignore.
Perfect for: that long walk along a country road at 2:00AM under a bed of stars.
Mercury Rev – The Secret Migration
If you need a second hit of Dave Fridmann enhanced tunage, look no further than the latest set of psych-lullabies from the Rev. If you’re aware of the band's ouvre, then there’s nothing here you haven’t heard before. However, music this lovely is always worth a second helping.
Perfect for: watching the sunset with your imaginary friend.
Pinback - Summer in Abbadon
Evoking the sounds of Death Cab for Cutie, Elliott Smith, and heck, even Fugazi, Pinback release their most consistent effort to date. Although released in the second half of 2004, word of mouth has ensured it’ll no doubt be on the stereo of your local indie store for many months to come.
Perfect for: your next road trip, whenever that may be.
dEUS: The Ideal Crash
With a new set from Tom Barman’s band imminent, it’s time for a refresher course on the best Belgian group around. Swathed in a mix of strings and percussion that shift from menace to innocence in a heartbeat , 1999’s The Ideal Crash holds your attention in a vice-like-grip from the very first listen. The shift from dark to light on One Advice, Space, the giddy nature of Let’s See Who Goes Down First, and the heartbreak of The Magic Hour would be highlights on any decent rock album. With Instant Street though, dEUS really let fly, reaching rarely seen pop heights before entering a sonic tailspin and crashing in a blaze of glory.
Perfect for: enhancing that bout of turbulence during a long-haul flight.
And You Will Know Us By The Trail Of Dead – Worlds Apart
Criminally ignored by their record company Interscope (Worlds Apart has been ready for release for quite a while, but wasn’t able to obtain a ‘slot’ during the lead-up to the music industry cash-cow that is Christmas), the follow up to Source Tags And Codes finally sees the light of day. Although not reaching the heights of previous Trail of Dead albums, with the band preferring to expand their repertoire of jaunty orchestral anthems, the rare occasions where they shoot from both barrels (such as Will You Smile Again For Me) are thrilling. Worth catching live as well, especially for their twin drumming assault and tag team switches between, and during, songs.
Perfect for: creating a worthy soundtrack whilst reading Hellboy and Preacher comics.
Wednesday, January 05, 2005
Kate Bush used to scare me...
Aaaah Kate!
Hang on, I was five-years-old at the time. Yes, Kate's voice wasn't to my liking at that tender age. Instead, I was more interested in being Morten Harket from A-Ha. Remmeber the video for Take On Me? Yeah, it had everything. Comics, a seedy chippy, and to top it off Morten got the girl at the end...Oh, sorry.
Anyway, the fabulous Kate Bush apparently has a new album out this year (not to mention Andre 3000 wanting her to guest on the next Outkast album as well). She's so excited about it she decided to post details on one of her many adoring fansites here.
In other KB news, the irrelevant Brit Awards have decided to throw a party in their own honour by announcing the Best British Song in their 25 year history (oh well, had to get something to replace Best Dance category). One choice for every nausiating year of Brits, although each selection isn't necessarily the best track of that year. No Radiohead of course, just 'classic' tracks from Simply Red and Robbie. 'Wuthering Heights' is among the shortlist, but I doubt it'll be in with a shout. Still, it could be worse. Will Young could be nominated. Crap, spoke too soon...
Tuesday, January 04, 2005
The first 5 LPs I ever heard...Number 3...
3. Crosby, Stills, Nash & Young - Deja Vu
Sure, I could have said After The Goldrush because it was the first Neil Young album I listened too. Or the first CSN album because of the beauty of Wooden Ships. However, it's Deja Vu that I keep coming back too. It had been in the stack of LPs given to me by Dad for a couple of years, but I never really got around to listening to it.
In my final year of college, I was compiling songs for an American History project about the Vietnam war. I had decided to write some fictional letters from an American soldier, and to accompany these writings I made a tape of songs to be played whilst the letters were being read. As you can guess, the tape included artists such as Buffalo Springfield, Bob Dylan, Creedence Clearwater Revival, Country Joe and the Fish, and Crosby Stills Nash and Young. This last choice was suggested by my father who simply said ' Listen to Almost Cut My Hair and Woodstock'. So I did, and he was right. Almost Cut My Hair, written by ex-Byrd David Crosby, shows how going against the wishes of 'the man' in the late 60s/early 70s simply meant letting your 'freak flag fly'. Crosby states that although it increased his 'paranoia, like looking into a mirror and seeing a police car', he wasn't scared of the conseqences.
So, I guess American History was useful after all. Oh, and in case you're wondering, the project got an A+ too. Learning about history while making mixtapes. Strange, huh?
Sure, I could have said After The Goldrush because it was the first Neil Young album I listened too. Or the first CSN album because of the beauty of Wooden Ships. However, it's Deja Vu that I keep coming back too. It had been in the stack of LPs given to me by Dad for a couple of years, but I never really got around to listening to it.
In my final year of college, I was compiling songs for an American History project about the Vietnam war. I had decided to write some fictional letters from an American soldier, and to accompany these writings I made a tape of songs to be played whilst the letters were being read. As you can guess, the tape included artists such as Buffalo Springfield, Bob Dylan, Creedence Clearwater Revival, Country Joe and the Fish, and Crosby Stills Nash and Young. This last choice was suggested by my father who simply said ' Listen to Almost Cut My Hair and Woodstock'. So I did, and he was right. Almost Cut My Hair, written by ex-Byrd David Crosby, shows how going against the wishes of 'the man' in the late 60s/early 70s simply meant letting your 'freak flag fly'. Crosby states that although it increased his 'paranoia, like looking into a mirror and seeing a police car', he wasn't scared of the conseqences.
But I'm not giving in an inch to fearWhile Woodstock was originally written by Joni Mitchell, and played in an accoustic fashion, CSNY transform it into an electric wonder, complete with lush inter-woven harmonies. I decided to use Mitchell's version for my project, but hearing CSNY's version was a minor revelation. The rest of the album contains songs murdered by television advertisments for teachers and real estate agents (Teach Your Children and Our House), a Neil Young career highlight (Country Girl) and a cameo from the Lovin' Spoonful's John Sebastian (Deja Vu).
Cos I promised myself this year
I feel like I owe it to someone
So, I guess American History was useful after all. Oh, and in case you're wondering, the project got an A+ too. Learning about history while making mixtapes. Strange, huh?
Saturday, January 01, 2005
Goodbye 2004, Howdy 2005/ Live highlights of 2004
Morning kids. Hope y'all had a good New Year's Eve and the inevitable hangover isn't too bad. Right, back to the music...
To finish the 2004 wrap, let's look through the gig highlights of the last 12 months. These are the ticket stubs that remain in the Major Leaguer wallet:
1. Interpol @ The Forum - NY's finest light up a dark November night with a set that will forever be etched in this writer's memory.
2. Wilco @ The Astoria - Sure, the jam nature of Wilco's recent work may resemble the Grateful Dead, but the addition of Nels Cline has only made the Chicago band stronger. Jeff Tweedy continues to fly close to the sun, but his wings aren't melting yet.
3. Bright Eyes @ ULU - Conor wasn't drunk this time, and sans his Bright Eyes cohorts he seemed more focused than ever. A Dylan for the I-Pod generation.
4. Justin Timberlake @ Earls Court - Yes, Justin Timberlake. Fireworks, a cracking live band, and over-the-top choreography. Michael who?
5. The Roots @ Brixton Academy - Hip-Hop's premier live crew keep on truckin'. Black Thought continues to be the MC's MC, ?uestlove is ...well...um... still ?uestlove (with the 'fro to match his skills - massive), and the night was topped off by a stunning solo set from Roots super-sub Martin Luther. Illadelph's finest sure put on one hell of a show.
Unlucky losers....And You Will Know Us By The Trail Of Dead, Fleeing New York, Jurassic 5, Melody Club and Sparks (who managed to perform both the entire Lil' Beethoven album and a cracking Greatest Hits set in one show).
To finish the 2004 wrap, let's look through the gig highlights of the last 12 months. These are the ticket stubs that remain in the Major Leaguer wallet:
1. Interpol @ The Forum - NY's finest light up a dark November night with a set that will forever be etched in this writer's memory.
2. Wilco @ The Astoria - Sure, the jam nature of Wilco's recent work may resemble the Grateful Dead, but the addition of Nels Cline has only made the Chicago band stronger. Jeff Tweedy continues to fly close to the sun, but his wings aren't melting yet.
3. Bright Eyes @ ULU - Conor wasn't drunk this time, and sans his Bright Eyes cohorts he seemed more focused than ever. A Dylan for the I-Pod generation.
4. Justin Timberlake @ Earls Court - Yes, Justin Timberlake. Fireworks, a cracking live band, and over-the-top choreography. Michael who?
5. The Roots @ Brixton Academy - Hip-Hop's premier live crew keep on truckin'. Black Thought continues to be the MC's MC, ?uestlove is ...well...um... still ?uestlove (with the 'fro to match his skills - massive), and the night was topped off by a stunning solo set from Roots super-sub Martin Luther. Illadelph's finest sure put on one hell of a show.
Unlucky losers....And You Will Know Us By The Trail Of Dead, Fleeing New York, Jurassic 5, Melody Club and Sparks (who managed to perform both the entire Lil' Beethoven album and a cracking Greatest Hits set in one show).
Friday, December 31, 2004
The hidden gem of 2004 - Pinback
OK, so I'd heard the odd track at work and was intrigued, but hearing Pinback played regularly on WOXY.COM was the clincher. I've just bought their new album Summer in Abaddon and it's even better than I imagined. Fans of melodic indie rock such as Death Cab For Cutie and Elliott Smith (well, Pinback are on Touch & Go....figures) should beg, borrow and steal to get their mitts on this gem. Super-fantastique.
Since this'll be the last post for 2004, I hope you all have a Rock'N'Roll New Year's Eve...I'm out like Jerry Orbach (RIP)
Since this'll be the last post for 2004, I hope you all have a Rock'N'Roll New Year's Eve...I'm out like Jerry Orbach (RIP)
More blog gems for y'all
Two music related blogs that I stumbled upon this week while under the influence of whiskey and leftover Christmas cake...
Brooklyn Vegan is mostly music related, but includes links on media, vegan resources, and pets (my favourite!). Definitely worth a click.
Petals Plucked has a neat Top Ten list for 2004 containing all kinds of Major Leaguer approved artists, plus, in an original twist, chunks of relevant indie lyrics at the end of each post. Also worth a click or two.
Brooklyn Vegan is mostly music related, but includes links on media, vegan resources, and pets (my favourite!). Definitely worth a click.
Petals Plucked has a neat Top Ten list for 2004 containing all kinds of Major Leaguer approved artists, plus, in an original twist, chunks of relevant indie lyrics at the end of each post. Also worth a click or two.
Tuesday, December 28, 2004
Major Leaguer Top 10 Albums of 2004
Right. So after 363 days, these are the LPs that have been stuck in my hi-fi the longest. Any notable omissions? If so, have your say below....OK, let's count 'em down....
10. No Cities Left – The Dears
Yes, this year’s finest Britpop album came from a bunch of Canadians led by vocalist, writer, multi-instrumentalist, and, ahem, ‘director’ Murray A. Lightburn. Once you get past the sound-a-like qualities of Lightburn’s voice (is he Albarn or Morrissey? You decide!), and the Stephen Street style production, what you’re left with is an album of lush melancholia fit for a rainy Sunday afternoon. Although there’s no denying The Second Part, with ‘smoke/broke/smokes’ rhyming is truly, utterly, awful. Now, hand me my Gitanes…
9. The Futureheads – The Futureheads‘Hey guys, lets pay homage to Kate Bush by covering her in a Jam-styleee!’, ‘Yeah!’ Well, it probably didn’t pan out like that, but with Hounds Of Love, Sunderland’s The Futureheads had the cover version of the year by a long, long way (and if you like that, you’d be mad not to track down their remix of The Streets Fit But You Know It). Like Franz Ferdinand, The Futureheads debut was a joy from start to finish, and another reason why British rock music in 2004 was near-unstoppable.
8. Happiness In Magazines – Graham Coxon
Right, so while Damon Albarn’s still stuck in his bongos and marimba phase, we can get back to why Blur were so exciting: Graham Coxon. Happiness In Magazines is Coxon’s strongest solo set to date, packed full of memorable tunes, stellar riffage and two of the best singles of the year, if not any year (Freakin’ Out, Bittersweet Bundle Of Misery). Oh, and has anyone noticed Graham’s vocals have gotten better?
7. Now Here Is Nowhere – Secret Machines
Like Led Zeppelin and Rush in a head colliding in a head on car crash, with Neil Young first to the scene, Texas trio Secret Machines were the discovery of 2004. Brothers Benjamin and Brandon Curtis and Josh Garza proved that power-prog was definitely not just for the likes of The Mars Volta, as Now Here Is Nowhere’s krautrock stylings and blistering psychedelic wigouts made the Machines a must-see live show. Your move Messer’s Bixler and Rodriguez.
6. Destroy Rock & Roll – Mylo
In a year where the ‘death’ of dance music was widely reported by broadsheets across the UK, it seemed that no-one had told Myles MacInnes about the funeral. With a magpie like approach to melody (‘Bette Davis Eyes’ anyone?), MacInnes set his phasers to ‘fun’, his tongue firmly in cheek on In My Arms, and the title track. His trump-card though was Drop The Pressure, a beast which was in the box of every self-respecting DJ, and thanks to its filtered vocal got everyone in the land dancing to the word ‘motherfucker’ whether they knew it or not. Sheer class.
5. From A Basement On A Hill – Elliott Smith
It’s no use looking for clues and answers on Smith’s posthumous release because that would be missing the point. Try this: here’s a fitting farewell to an artist who wasn’t afraid to wear his heart on his sleeve, his bittersweet songs capable of connecting to troubled souls the world over. From A Basement captures Smith at his rawest, and despite being littered with references to drugs (Kings Crossing, A Distorted Reality…), death (Last Hour, Let’s Get Lost) and depression (Pretty (Ugly Before)), it again shows Smith was an extremely under-rated lyricist. He’ll be missed.
4. Franz Ferdinand – Franz Ferdinand
Scooping every music prize under the sun (except the always odd American Shortlist gong), Franz Ferdinand were everywhere in 2004. By the end of it, they were understandably in fisticuffs having spent the previous twelve months in each others pockets, whether on a mammoth world tour promoting their stellar debut, or trying to take home their mountain of trophies from every award show. Intelligent, danceable rock and roll the likes of which haven't been heard in a decade, Franz Ferdinand were pretty darn special.
3. Antics – Interpol
Just like 2002’s Turn On The Bright Lights, Antics was again a slow-burner. However, once it got through to you, the New York groups’ second album was a thing of dark beauty. Take You On A Cruise’s majesty grows with repeated listening, Not Even Jail hits the headphones like a sledgehammer, while in Slow Hands the band had a song indie kids the land over could pogo to. So, ‘difficult’ second album sorted then.
2. Madvillainy - Madvillain
In a pairing to wet the pants of every underground hip-hop head, producer Madlib teamed up with rapper MF Doom for a blunted beat-fest. Slick rhymes about sneakers, rhinestone cowboys, groupie love, and of course rollin’ a few proved that Doom was truly an MC’s MC, while Madlib continued to show why he’s the king of the boards (check Shopping Bags on De La Soul’s Grind Date for further proof). A stone-cold classic.
1. A Ghost Is Born – Wilco
If this is the music Jeff Tweedy makes on painkillers, Ryan Adams might want to consider changing doctors. Following on from 2002’s Yankee Hotel Foxtrot, A Ghost Is Born showed Tweedy was finally making music on his own terms, with Jim O’Rourke again at the helm. Earlier Wilco fans welcomed tracks such as Hummingbird and Theologians as glimpses into the bands past. More importantly though, it was the Can-inspired Spiders (Kidsmoke), and the buzzing Less Than You Think that provided a view of Wilco’s future. Stunning.
10. No Cities Left – The Dears
Yes, this year’s finest Britpop album came from a bunch of Canadians led by vocalist, writer, multi-instrumentalist, and, ahem, ‘director’ Murray A. Lightburn. Once you get past the sound-a-like qualities of Lightburn’s voice (is he Albarn or Morrissey? You decide!), and the Stephen Street style production, what you’re left with is an album of lush melancholia fit for a rainy Sunday afternoon. Although there’s no denying The Second Part, with ‘smoke/broke/smokes’ rhyming is truly, utterly, awful. Now, hand me my Gitanes…
9. The Futureheads – The Futureheads‘Hey guys, lets pay homage to Kate Bush by covering her in a Jam-styleee!’, ‘Yeah!’ Well, it probably didn’t pan out like that, but with Hounds Of Love, Sunderland’s The Futureheads had the cover version of the year by a long, long way (and if you like that, you’d be mad not to track down their remix of The Streets Fit But You Know It). Like Franz Ferdinand, The Futureheads debut was a joy from start to finish, and another reason why British rock music in 2004 was near-unstoppable.
8. Happiness In Magazines – Graham Coxon
Right, so while Damon Albarn’s still stuck in his bongos and marimba phase, we can get back to why Blur were so exciting: Graham Coxon. Happiness In Magazines is Coxon’s strongest solo set to date, packed full of memorable tunes, stellar riffage and two of the best singles of the year, if not any year (Freakin’ Out, Bittersweet Bundle Of Misery). Oh, and has anyone noticed Graham’s vocals have gotten better?
7. Now Here Is Nowhere – Secret Machines
Like Led Zeppelin and Rush in a head colliding in a head on car crash, with Neil Young first to the scene, Texas trio Secret Machines were the discovery of 2004. Brothers Benjamin and Brandon Curtis and Josh Garza proved that power-prog was definitely not just for the likes of The Mars Volta, as Now Here Is Nowhere’s krautrock stylings and blistering psychedelic wigouts made the Machines a must-see live show. Your move Messer’s Bixler and Rodriguez.
6. Destroy Rock & Roll – Mylo
In a year where the ‘death’ of dance music was widely reported by broadsheets across the UK, it seemed that no-one had told Myles MacInnes about the funeral. With a magpie like approach to melody (‘Bette Davis Eyes’ anyone?), MacInnes set his phasers to ‘fun’, his tongue firmly in cheek on In My Arms, and the title track. His trump-card though was Drop The Pressure, a beast which was in the box of every self-respecting DJ, and thanks to its filtered vocal got everyone in the land dancing to the word ‘motherfucker’ whether they knew it or not. Sheer class.
5. From A Basement On A Hill – Elliott Smith
It’s no use looking for clues and answers on Smith’s posthumous release because that would be missing the point. Try this: here’s a fitting farewell to an artist who wasn’t afraid to wear his heart on his sleeve, his bittersweet songs capable of connecting to troubled souls the world over. From A Basement captures Smith at his rawest, and despite being littered with references to drugs (Kings Crossing, A Distorted Reality…), death (Last Hour, Let’s Get Lost) and depression (Pretty (Ugly Before)), it again shows Smith was an extremely under-rated lyricist. He’ll be missed.
4. Franz Ferdinand – Franz Ferdinand
Scooping every music prize under the sun (except the always odd American Shortlist gong), Franz Ferdinand were everywhere in 2004. By the end of it, they were understandably in fisticuffs having spent the previous twelve months in each others pockets, whether on a mammoth world tour promoting their stellar debut, or trying to take home their mountain of trophies from every award show. Intelligent, danceable rock and roll the likes of which haven't been heard in a decade, Franz Ferdinand were pretty darn special.
3. Antics – Interpol
Just like 2002’s Turn On The Bright Lights, Antics was again a slow-burner. However, once it got through to you, the New York groups’ second album was a thing of dark beauty. Take You On A Cruise’s majesty grows with repeated listening, Not Even Jail hits the headphones like a sledgehammer, while in Slow Hands the band had a song indie kids the land over could pogo to. So, ‘difficult’ second album sorted then.
2. Madvillainy - Madvillain
In a pairing to wet the pants of every underground hip-hop head, producer Madlib teamed up with rapper MF Doom for a blunted beat-fest. Slick rhymes about sneakers, rhinestone cowboys, groupie love, and of course rollin’ a few proved that Doom was truly an MC’s MC, while Madlib continued to show why he’s the king of the boards (check Shopping Bags on De La Soul’s Grind Date for further proof). A stone-cold classic.
1. A Ghost Is Born – Wilco
If this is the music Jeff Tweedy makes on painkillers, Ryan Adams might want to consider changing doctors. Following on from 2002’s Yankee Hotel Foxtrot, A Ghost Is Born showed Tweedy was finally making music on his own terms, with Jim O’Rourke again at the helm. Earlier Wilco fans welcomed tracks such as Hummingbird and Theologians as glimpses into the bands past. More importantly though, it was the Can-inspired Spiders (Kidsmoke), and the buzzing Less Than You Think that provided a view of Wilco’s future. Stunning.
Friday, December 24, 2004
As indie as they come - Pitchfork's 50 Albums of 2004
OK, this is the list that geeks like me wait for each year....uber-rock site Pitchfork are usually spot on with their picks, although I think the absence of Wilco in their top 50 is a criminal offence in some states...
On a non-musical note, I'm going to take a break for a few days to wind down and have far too much whiskey and good cheer (whatever that is). So, thanks to the peeps that keep reading my musings and clicking on the links provided. Have a fine Chrismukkah and I'll catch you in a few days....oh, and make sure the Low Christmas EP is on heavy rotation on your stereo (failing that, the Phil Spector X-Mas album)....
On a non-musical note, I'm going to take a break for a few days to wind down and have far too much whiskey and good cheer (whatever that is). So, thanks to the peeps that keep reading my musings and clicking on the links provided. Have a fine Chrismukkah and I'll catch you in a few days....oh, and make sure the Low Christmas EP is on heavy rotation on your stereo (failing that, the Phil Spector X-Mas album)....
Wednesday, December 22, 2004
The first 5 LPs I ever heard...Number 2...
2. Cream - Disraeli Gears
Another record which had a confusing trippy cover, Disraeli Gears was the first album which I would leave on the stereo for weeks on end. There was a giddy thrill from hearing the initial crackle when the needle hit Side A, and a fevered anticipation whilst waiting for it to begin. Then - BANG! - Strange Brew hits the speakers, one of best opening tracks of an album that I've ever heard, with Clapton's blues vocals only marginally behind his raging guitar solo halfway through.
Indded, apart from Cockney album closer Mother's Lament, the rest of the album is flawless. Sunshine Of Your Love, the band's biggest hit, still sounds as fresh today as when I first heard it aged 13, and I'm sure people who were that age in 1967 would probably agree. My favourite track of Disraeli Gears, and of Cream's short career, comes at the start of Side B with the psychedelic Tales Of Brave Ulysses. Ginger Baker's driving drum work sets the scene as Clapton sings of fallen Greek heroes, while at the same time setting the template for every wah-wah porn soundtrack to follow.
The band's blues heritage was not forgotten either even though they were touted as being an 'electric super-group'. Both Jack Bruce and Clapton were avid bluesmen, with Clapton learning his trade under John Mayall's Bluesbreakers and prior to that The Yardbirds (who were later, after several lineup changes, to evolve into Led Zeppelin only three years after Clapton's departure), and throughout the album show their debt to the delta musicians of the 20s and 30s. The band though were constantly progressing, merging free-jazz, rock and blues to create a style all of their own. It's little wonder then that due to each group member's quest for musical inspiration from fields a far, they were to only last for four albums before splitting.
Only a few weeks ago, I purchased Universal's 'deluxe' reissue of the album, and although the extra tracks and studio sessions are of interest to the casual listener, it's the 11 tracks that make up Disraeli Gears that's all you need to hear. Psychedelic bliss in under 35 minutes.
Another record which had a confusing trippy cover, Disraeli Gears was the first album which I would leave on the stereo for weeks on end. There was a giddy thrill from hearing the initial crackle when the needle hit Side A, and a fevered anticipation whilst waiting for it to begin. Then - BANG! - Strange Brew hits the speakers, one of best opening tracks of an album that I've ever heard, with Clapton's blues vocals only marginally behind his raging guitar solo halfway through.
Indded, apart from Cockney album closer Mother's Lament, the rest of the album is flawless. Sunshine Of Your Love, the band's biggest hit, still sounds as fresh today as when I first heard it aged 13, and I'm sure people who were that age in 1967 would probably agree. My favourite track of Disraeli Gears, and of Cream's short career, comes at the start of Side B with the psychedelic Tales Of Brave Ulysses. Ginger Baker's driving drum work sets the scene as Clapton sings of fallen Greek heroes, while at the same time setting the template for every wah-wah porn soundtrack to follow.
The band's blues heritage was not forgotten either even though they were touted as being an 'electric super-group'. Both Jack Bruce and Clapton were avid bluesmen, with Clapton learning his trade under John Mayall's Bluesbreakers and prior to that The Yardbirds (who were later, after several lineup changes, to evolve into Led Zeppelin only three years after Clapton's departure), and throughout the album show their debt to the delta musicians of the 20s and 30s. The band though were constantly progressing, merging free-jazz, rock and blues to create a style all of their own. It's little wonder then that due to each group member's quest for musical inspiration from fields a far, they were to only last for four albums before splitting.
Only a few weeks ago, I purchased Universal's 'deluxe' reissue of the album, and although the extra tracks and studio sessions are of interest to the casual listener, it's the 11 tracks that make up Disraeli Gears that's all you need to hear. Psychedelic bliss in under 35 minutes.
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