Music of 2009...

Most of the music I liked featured guitar in some way. Quelle surprise.

I don't know about you lot, but I fucking hate lists. Lists of banal things which you'd not previously thought about in the year. I really don't even like making lists at work - usually there's one or two things which are actually important to do, and the rest just sorts itself out.

Anyway. With that said, i'm going to turn on my heel and announce the albums which've been doing it for me in 2009. And, y'know, they'll be in reverse order, pop pickers. I've also made a Spotify playlist of some of the tracks I've liked a lot from these albums. Go 'ere to find it (along with some other tracks from the past year which haven't quite made the list).

10) The Leisure Society - The Sleeper



The Leisure Society are one of those bands I'd have never, ever listened to without a friend encouraging me. Garnering critical praise from the likes of Guy Garvey, Chris Martin and others who inch towards bed wetting music, I was a wee bit worried when a mate gave me his copy to listen to.

I needn't have been worried. This is brilliant stuff. A debut album, but you'd never ever know it. Upon hearing Mumford & Sons (who are also a good band, but not in the same class with their album, in my opinion), I had a little smile; if the Leisure Society had half of the commercial backing, they'd be all over the airwaves.

The music itself is sugary sweet, but in a good way, not in a 'I need to abuse several household pets' vein. Ahem. I've not heard better harmonies this year. A sweet folksy indie album. We've had a good year for them, but these guys have been amongst the best.

A note on the album - I bought the original version of the album, which isn't what's linked to - the new (and cheap!) version has a fucking amazing cover of Gary Numan's cars (a live version's also on Youtube). Check it out.

9) Decemberists - The Hazards Of Love



The Leisure Society don't have the monopoly on folksy indie music though. These guys probably have as much of a claim to it as anyone. I was introduced to them by an old girlfriend, and dismissed them as oh-so much folk meandering, designed for people who still loved their very first compass. This was back in 2005, with the release of Picaresque. I liked some of it, but most of it wasn't for me.

Now, I rather liked the album they did before this, The Crane Wife. About half of the songs were tip top, and all told rather bizarre stories about gun fights and mythical cranes (the bird, not the equipment, though that would be brilliant).

Come 2009, and they released The Hazards of Love. It's kind of an odd fusion between folk, prog and indie. The pretentious lyrics are still there, but somehow i've grown to like them. Colin (the lead singer) Meloy's voice is an acquired taste (someone from Oregon singing in what sounds like an affected mid 60's English folk singer), but I think it's gotten better, and sounds less affected. It helps he's singing duets or harmonising a lot of the time.

Anyway, it's easily the best folk/prog/concept album of the year. And, it's worth mentioning - they are fantastic live. I saw them live at the Coronet with Anjali (I believe Neil was in the crowd too, somewhere), and they were cracking. Check them out.

8) Them Crooked Vultures - Them Crooked Vultures



Now, this is probably a pretty easy selection. But, in my mind, it's not the best rock album of 2009. Early pretenders to the throne included Jack White's new side project, The Dead Weather. They were cracking at Glastonbury...but the album was slightly disappointing.

Now, Josh Homme, Dave Grohl and John-Paul Jones are the Crooked Vultures. I was desperate to listen to this album, ever since I listened to the 15 second leak during the summer. I'm pleased to report that the Amazon reviews on this album (and in various music mags) are spot on; it's a great record. That said, some tracks are obviously better than others - Elephant and Nobody Likes Me (and Neither do I) are the ones to listen to. It's an album to crank up and run with, or to play when everyone else's out of the house.

It's very derivative of Led Zep, but I don't care about that. I like Homme as a vocalist/lead guitarist, love JPJs's basslines and Grohl's powerhouse drumming.

I was gutted I couldn't see them live, but it'll hopefully happen next year. I hope.

7) A Place To Bury Strangers - Exploding Head



These guys came out of leftfield entirely. I heard reports about a band which were the loudest band in New York City. Bearing in mind the Yeah Yeah Yeahs come from there, it was a bold claim. Then someone on twitter (I forget who - probably Mr Kendrick) linked me to a track from their new album, Exploding Head, telling me to listen to it turned up. That track was Ego Death, and it was LOUD.

To describe their sound, it'd be like combining the Jesus & Mary Chain with shoe gazing bits and pieces. I really like that sound, even though I think I got a bit fed up with over-listening to Glasvegas last year.

It's easily the loudest album in the list, but it's really cracking. Heartily recommended, especially if you like your music loud and raw. I want to see them live in 2010.

6) Gomez - A New Tide



Gomez's debut album in 1998, Bring It On, is one of my favourite albums ever. In the top 5 debut albums ever, in my mind. Now, I love Gomez. Love them to bits. They've always, like the SFA, been able to do slightly odd things with music (though it always trended towards the bluesy side of things, given Ben Ottewell's voice) and make it sound fantastic.

I'd bought every Gomez album up to Split The Difference, which was just...ok. I thought they'd lost it in truth. Not enough long tracks (which the band are famed for), not enough melodies...it just sounded like a band devoid of ideas. So, I didn't buy the album after. And again, wasn't sure about buying another one...until a friend of mine told me their new album was a cracker. And he was right.

Tracks like 'Mix', 'Airstream Driver' and 'Little Pieces' would all sit very nicely on a Gomez best of. Pop, but not...all with enough quirks to keep me entertained. If you don't know Gomez at all, this is actually quite a good introduction. Then buy Bring It On.

5) Joe Gideon & The Shark - Harum Scarum




I first heard these guys live in the basement of a pub in 2008. There was something captivating about a tall, swaying preacherman whose bluesy voice barked tunes over a jangling electric guitar, whilst the drummer and ex-model (his sister) was in command of the sticks. A bit White Stripesy in lineup, but they sounded nothing like them. Actually, I was reminded of Nick Cave tracks (always a good thing) like John Finn's wife or even earlier. A lot of storytelling, which always makes me happy.

So when they released Harum Scarum in 2009, I was dead chuffed. 'Johan Was a Painter & An Arsonist' was better on record, 'Kathy Ray' finally made sense, and 'Civilization' was just as bonkers as I remembered it.

They're starting to get a little bit more mainstream attention these days, but I for one think they wholly deserve it. Have a listen. It won't be to everyone's taste, but if you like bluesy storytelling (some of which is very peculiar), you'll love 'em.

4) Fanfarlo - Reservoir



Another band I saw a year or so earlier - Fanfarlo are an indie band who did the small venue circuit (rather like Florence & The Machine) in London for a year or so. Having heard a few of their tracks - including this one, which for some unknown reason, didn't make the final album - I was hooked. That they had a massive band with a lot of drums and a brass section made me very happy indeed.

So, when they decided to launch their album by effectively giving it away for a pound, I downloaded it and had a listen. By this time, Coldplay (urgh) had decided to give them a support slot with them, and they were beginning to be widely listened to. Tracks like 'Harold T.Wilkins', 'The Walls Are Coming Down' and 'Fire Escape' were absolute corkers.

The sound is...i'll be honest, quite like Arcade Fire. And yet, I didn't really understand what all the fuss was about with Arcade Fire. I really like some of their tracks, but they were a bit..glacial. There's much to admire, but little to enjoy. Whereas these guys are all about crafting really great indie pop songs, and it shows. Go and see them live - the last time I did, they came into the audience with a few instruments during the encore, and did an excellent version of Neutral Milk Hotel's 'In An Aeroplane Over The Sea'.

The album's well measured, has some excellent strings...if I had to criticise, I'd have to say some of their best tracks weren't included on the album. Seek them out, they're on Youtube. Still, a cracking album.

3) The Pains of Being Pure At Heart - Pains of Being Pure At Heart


I have a friend called Ben, who writes some excellent music reviews here. Not a man to get overly enthusiastic about bands for no reason, he trumpeted a band called 'The Pains of Being Pure At Heart' as one of the best he'd heard all year.

And, having downloaded the album over the Summer, I had to agree, he was damn right. There's something about this album which is all about being young, loving the sunshine and just believing there's something vital about a band with guitars and a sense of euphoria which can only be understood when you listen to the tracks for the first time.

'Come Saturday', 'Contender'...they're all quality tracks. It's an album lovingly devoted to the three minute indie pop song. There've been criticisms online that they sound like C86, a band I don't know, but to hell with it - this is music at its most vital. And for the half an hour or so the album rattles through, I bet you'll agree. They are also cracking live - I saw them with a mate at the Scala this month, and was delighted they could pull it off.

2) Biffy Clyro - Only Revolutions



I've had a bit of a strange relationship with Biffy. Part of me, when I heard their first few albums, was determined (despite the obvious musicianship) to write them off as another My Chemical Romance, full of pretension and screaming. Yes, screaming. I didn't much like it then, and I don't really like it now.

Now, over the years they've been active (pretty much my University years onwards), I've softened towards them, culminating in seeing them live in Bristol in 2005. They'd just released Infinity Land, and I thought some of the tracks off that - most notably Glitter & Trauma and My Recovery Injection - were excellent.

An album released in 2007, Puzzle, divided fans. More obviously poppy than the earlier stuff, it won them a whole new legion of fans. I sort of ignored it, to be honest, partly because I was more interested in...uhh, moving to London at that point.

So come to 2009. A mate invites me along to see Biffy at Brixton. I thought i'd better check out their new album, 'Only Revolutions'. And bugger me if it isn't the best thing they've released. Obviously poppier than the early recordings, it retains the musical schizophrenia and melodies of the earlier stuff with more grown up (strings! on a Biffy album!) elements. I then buy Puzzle, and understand the shift. The last album was quite a lot poppier, and more of a straight rock album. This is a move back towards the older stuff, but not losing the more refined elements.

Josh Homme, I'm told, was involved with 'Bubbles', and it shows. Tracks like 'The Captain', and 'Golden Rule' are proper slices of rock though. Here's hoping they've influenced him too. And yes, they are quality live; you'll be amazed so much sound can come from three Scotsmen.

1) Idlewild - Post Electric Blues



Idlewild's 'The Remote Part' is probably my album of the decade. It had everything; hard rock, soft acoustic numbers, and brilliantly clever lyrics. And, i'll be honest, I love all of their albums. From the punky start of the Captain EP through to today, they've evolved as i've grown up, which is cracking.

The album before this, 'Make Another World' was a return to the slightly louder Idlewild and had more obvious riffs than the folkier stuff. Roddy Woomble, the band's front man, had begun to pursue solo projects, which were EXTREMELY folk orientated (but still quality albums). I think it was to try and keep the projects separate.

So when the band decided they'd release their latest album, 'Post Electric Blues' by themselves first of all (before the label release), I decided to order a copy. And it really didn't disappoint me. It took elements from Roddy's latest solo project, 'Before the Ruin' (most notably, the backing vocals of Ms Heidi Talbot, who made my favourite track from 2008; the studio track's here) and mix it with the more guitar based sound from the prior album.

And the result's, in my opinion, the album of the year. Tracks like 'City Hall', 'Younger Than America', 'Dreams Of Nothing' and 'To Be Forgotten' are all utterly brilliant. And, naturally, when I saw them in Camden in November, they knocked it out of the park, with a nice mixture of tracks from their whole career. Quality stuff.

Also Recommended:

The Wave Machines self titled debut album is very promising; if one half of the album was like the first four and final track, it'd be top 5 album for sure. Check out 'Punk Spirit' and 'Dead Houses'. Kasabian suffer from their perennial problem - they only make half an album. While that half an album is probably the best thing they've ever done, it's still not worthy of all of the hype. They are quality live though, if you can get by most of their frankly nuts fans. Bat For Lashes' album 'Two Suns' is worthy of a listen, especially if you turn off half way through. It's great going to bed music (and I mean that in the nicest way), but it's not coherent, though I understand that was kind of the intention.

The XX's debut is sort of worthy of its plaudits. They do sound like no-one else, and it's a great sound. The problem? Every song sounds very, very similar. If you can put up with that, then it's an album you should own. The Yeah Yeah Yeahs album 'It's Blitz' is their best yet. It took me a while to get into (being such a fan of their earlier stuff), but 'Zero' is one of the songs of the year, definitely.

The Raveonettes' new album 'In and Out of Control' is an absolute corker, and only isn't in the top 10 because i've only very recently discovered them. Give it another week, and i'd probably have put it in. The Golden Silvers were brilliant live, and I love a couple of their tracks, but the rest of the album is damned patchy. 2009 was also notable, because it was the year I finally saw the point of the Maccabees when I saw them at Glasto. Their new album is a good 'un. I also was introduced to Andrew Bird, and liked him a lot (especially live), but I don't like all of his album, so it's in the top 20, but not the top 10.

Finally, the SFAs. Their album 'Dark Days/Light Years' deserves plaudits. Like most SFA stuff though, I tend to lose interest halfway through; the songs meander a bit too much. I think it's the best album they've released in years, but 3 or 4 tunes stop it from denting the top 10.

Live:

The best live gig was probably Neil Young at Glastonbury. I was instantly converted, and now own a lot of his stuff. The second best was Drever, Woomble, McCusker and Talbot all performing folksy stuff in the Union Chapel in Islington - 'Cathedrals' is my most played track on Last.Fm as a result, and I discovered the joys of Kris Drever. I love the venue too.

Fanfarlo at the ICA were great, along with Biffy Clyro at Brixton, Idlewild at Camden, Massive Attack were good at Brixton (I can't wait for the new album), Pains of Being Pure At Heart were cracking at the Scala, Red Snapper were quality at Glastonbury, Blur were good at Glastonbury, Andrew Bird was very very good at Shepherd's Bush Empire, and the Decemberists at the Coronet were cracking too. I also was finally able to see the Secret Machines at the Carling Academy in Islington, and they didn't disappoint; the drummer has the biggest kick drum i've ever seen.

Finally, Nick Cave & The Bad Seeds were good at Glasto. I don't know how any band could've followed that. They're consistently the best live band i've ever seen. See the full line up, and witness the genius of Martyn P Casey, Warren Ellis and Nick Cave himself.

Here's hoping 2010 is a good year for music. I enjoyed 2009. You can hear my favourite tracks from 2009 here and here.

Funny old thing, nostalgia...

What a cheeky chappy. Not as good a frontman as Liam, but still.

Like a lot of people, last weekend, I was at Glastonbury. Yes, I'm sure you're sick to the back teeth of hearing about it. Hell, I am, and I was there.

There's a point to this post, rather than shamelessly sticking it to those who weren't there. Chiefly, this; it was the first time in my life that a band (that I can actually remember, and know most of their music) that formed a major part of a musical movement, were reformed. I remember both incarnations.

It's not like the Smashing Pumpkins reforming. In truth, I was too young to properly remember the early Pumpkins - i'd have been about 6 when they first started making music.

No, Blur reforming and headlining on the Sunday was an odd experience for me. I was always more of an Oasis fan (they have two cracking albums, whereas, in my eyes, Blur have none, though they are a great singles band), and in all honesty, was keen to see Blur, but just as excited to have seen the Dead Weather earlier in the weekend, as well as Neil Young (who was the unquestioned highlight of the weekend for me).

And, looking back as the week went on, I failed to understand just what it was that led to such a mass outpouring of nostalgia for Blur. I mean, they've only not been recording for 6 years. Add to that Damon Albarn's faux emotion at Glastonbury; I thought it smacked of a cash in.

I could fully understand the Neil Young fans cheering wildly when he played stuff from Harvest. I mean, imagine finally seeing your hero at Glasto (he'd never played there in his 40+ year career) playing songs from his most successful album. Absolutely brilliant.

But then, I thought about it some more. Do I think that because I wasn't around then? Do my incredibly rose-tinted notions about the 60's and 70's entirely colour my beliefs about Neil Young?

I reckon they do. I lived through Britpop, and to me, Blur were a good band. But then, so were the Bluetones and Supergrass, and they weren't still headlining (though not having split up probably has a large part to do with it) Glastonbury. They also weren't seen to have begun the movement, as Blur were.

But my memories remain - Britpop, for me, doesn't really feature Blur. It's all about Oasis, about Definitely Maybe, about playing and watching football, about What's The Story and knowing all the words to do, about discovering the Stone Roses after, about knowing the day it died (somewhere between Urban Hymns and the Spice Girls, in truth). I dislike what's been seem to be a reframing of a musical movement that I was a part of. Hell, I base getting old on whether people I talk to can remember What's The Story. If they were born late 80s or early 90s, they probably don't, and fuck me, does that make me feel like i'm getting old.

Interestingly though (especially given the ranty nature of the previous post), when you look at the etymology of the word nostalgia, it comes from the combination of two Greek words (nostos a return home and algios pain). It's not necessarily a particularly positive thing.

Listening to Blur DID bring on feelings of nostalgia for me - for what i've just outlined. And (God, I KNEW a smattering of Godin-like tendencies would creep in...sorry) it also made me think about the heavy reliance a lot of brands have on nostalgia.

Why would you willingly induce nostalgia if it can provoke such sadness? I know sadness can sell, but God, it's not a long term position. Memories get fuzzy, worn and replaced (I'm sure in ten or twenty years time, I'll believe Blur were one of the better Britpop bands). So then can the point of certain brands, unless they keep providing me with new experiences to show how they fit into my life now.

Blur stopped being relevant to me after 1997. And so did a lot of brands.

Everyone Loves Music (And Podcasts)

There may be violin. I just don't know. Thanks GBST Ron, usual rules apply.

Eh? Don't you?

Well, you can't say that this blog doesn't live to give from time to time.

Yes, it's that time when I bore you with music (or excite you?).

Anyway, happy Wednesday, because here are all of my podcasts for you (including the newest, the 7th):

Oh No Cucumber Sandwiches 1

Oh No Cucumber Sandwiches 2

Oh No Cucumber Sandwiches 3

Oh No Cucumber Sandwiches 4

Oh No Cucumber Sandwiches 5

Oh No Cucumber Sandwiches 6

Oh No Cucumber Sandwiches 7

You can, of course, just scroll down and click on the little men who drum to listen to it from this webpage, if you'd like. But if you want one to take home with you, click on the links. I think there's a limit on the amount of downloads you can make in a day - but hell, surely too much music means you don't appreciate it? Heh.

Also, if you want to know the tracklisting, here it is...(but it is a little like finding out what you got for Christmas, eh?)

Formed a band, We Formed a Band.. Look at us..

The Stone Roses/Primal Scream bassist Mani.

Well, it's time for what one of my tutors would call an 'inappropriate analogy'. To hell with it, they didn't have any Art Brut lyrics to use when writing titles.

Yes, I'm drinking at the well of pretension today. And it tastes good.

The subject of this piece of overstretched thinking is advertising (and its denizens) as a band. This has already been brought up by the erstwhile Mr Davies, but I thought I'd give it my own thoughts. Especially after going to a few gigs last week.

Planners then. We're quite clearly the bassists of the whole operation. Making sure the work hums along, is in rhythm with what the client and the audience want. Bands/Advertising can work without us (Sony 'Balls' is clearly an extended guitar solo of creativity), and we must never forget that. But with us, we can make the work groove along.

Also, perhaps most importantly - when we do our job, you barely notice that we are there. The work works, it's on the right brief, and products/albums get shifted. We're the creative midwives of the whole operation (thanks to Craig M for that description), who are often in the background. Plus - bass solos rarely work (unless you are Andy Rourke or Mani Mountfield).

Production/Creative Services...let's think about them. I'd say they are the drummers in our advertising band. Driving the work through with their thumping beats. Without these guys, the world falls apart.

And their ability to make even the most outlandish request fly (through their extended drum soloes on the phone to suppliers and others) means they are essential. God, we need these people. Often the most understated/lovely people in the advertising band.

The ad band in force. I'm quite happy to be Rourke. Listen to the Queen is Dead for proof of that.

Now, these next two are up for debate (depending on what side of the fence you sit). But this is how I'd appraise them:

Account Handlers are the vocalists in our band. Without their melodious vocal stylings to the client, even the most flamboyant piece of guitar work/creative execution wouldn't get into the hearts and minds of the record buying public.

I'm not sure if the lyrics would sound the same if not for these guys. It's got to be well projected to convince a weary record buying public, who are used to the NME trumpeting them as the next big thing.

Finally, Creatives. These guys are the lead guitarists and the lyricists of our little outfit. They make the sonic landscapes that everything comes from. Sometimes at odds with the way the vocalist sings their lyrics, they are nonetheless vital to providing the hooks in the band.

Sometimes they can get overly flamboyant, and are pulled back by the rest of the band, but when they collaborate, the music has a good beat, and you can dance to it.

(NB: Yes, I know The Smiths don't quite fit into the ad band as Morrissey wrote the lyrics, but ah well).

If I could plot a week of gigs...

Billy Corgan and chums giving it their all..

Well, this week's been very cool, and largely in a selfish 'spending lots of money on live music' way.

Put it this way; if you'd had said that in a week I'd have been able to see The Smashing Pumpkins and Grinderman, I'd have sniggered at you. Two of my favourite bands, and definitely my two favourite front men, Billy Corgan and Nick Cave.

Tuesday then - got a little email from someone who read my desperate plea on Last.fm for tickets, and flogs me one. I was a bit sad that my housemate couldn't come along, but he told me to go and have a good time.

So, after writing a presentation, away I went to Shepherd's Bush on my own. It was the only gig I've been to where touts weren't selling tickets, but buying them instead...such was the level of the demand. I met up with a load of cool Pumpkins fans (who tended to be Scandinavian or Australian, oddly) and got this close to the door, when I saw the 3 people in front of me kicked out of line as they had fake tickets.


To say I was a little worried would have been putting it mildly. Happily, I got in.

It was the first time I'd seen a gig at Shepherd's Bush, and I was very impressed. The ticket was for standing in the (tiny) area in front of the stage. Yes, I had a damned amazing view. I make bugger all apologies for being the big person at the gig (I'm 6'3"), but I tried to let the little people go in front of me. I did, though, take some photos, breaking Lauren's gig rules by taking a few photos, which can be found on my flickr...

And what of the gig itself? Well, it was fucking brilliant. Best gig I've ever seen, by a long long way.

I've heard people say Corgan is detached and remote, but he wasn't tonight, bantering with the crowd nicely (especially during the second encore) and generally being a rock legend. His singing's improved, which was great.Jimmy Chamberlin is the best drummer I've ever seen in the flesh as well. The new folk were good too, adding more weight to the argument that the Pumpkins are Corgan and Chamberlin.

Thirty Three, Muzzle, Hummer (acoustic, brilliant) and Cherub Rock were my favourites. I got throughly crushed at the front, but it was fantastic.

Oh, and they played for 3 hours. On at 8, off at 11. Two encores, which is pretty special. Most of the set list can be found below (it's a wee bit blurry/dark, but that's a camera phone for you). Add to that Cherub Rock and Muzzle (the last tune, and one of my favourites of theirs).


If you want to listen to most of the gig, go here and here, which is a recording of the Paris show (most of the songs they played in London are there). You can also find a better copy of Muzzle from the London show here (not from me). The new single 'Tarantula' is pretty damned brilliant as well - a return to their Siamese Dream heyday.

So, how was I going to top that? Well, Wednesday brought around Grinderman, Nick Cave's new band (the 'mini seeds' gone raaawk).

Above: Nick Cave preaches to the converted. Photo from Obo-Bobolina

Now, unlike the Pumpkins, I've seen Nick Cave do his thing with the Bad Seeds (his main band) before. So my expectations were high, and I had one of my housemates with me (who naturally distrusts live music) who was a big Cave fan.

We ambled to Kentish Town's Forum, pausing to eat the best Fish and Chips I've had since moving to London (they DO get worse the further South you get, I'm sure) before arriving at the venue.

After seeing Seasick Steve as the first support (he was very good - great live), we had the misfortune of watching NYC Synth Punks 'Suicide' play lie. The clue's in the name; they were bloody dreadful. So we decided to hang back until Cave came on.

Well, he duly did, and it was a cracking gig. Shame about the atmosphere. You got the impression that the majority of the audience had come to do a crossword rather than listening to the down and dirty tunes that Cave, Ellis, Casey and Sclavunos had come to serve up.

So we did the only natural thing. Yep, we moved to the front, and the gig improved immeasurably as a result. No Pussy Blues was great live. Cave on the guitar is odd to behold - but it works, though I think he performs best without a guitar; more room to dance and flail around the stage.

Then, in the encore, he did some form of duet with Suicide, which was....odd. But ok.

I still think the Bad Seeds are better than Grinderman, but it was a fun gig. And my musical week was great fun.

Returning heroes and the soundtrack to my summer..

The Manic Street Preachers have returned to their roots. About time too.. I liked Lifeblood, but this is power chord/melody driven. It seems all of their London venues have sold out, sadly. Sigh.. still, I saw them a few years ago - it's really worth it.

Listen to a track here:



And buy it here. Damn good stuff. 9/10.

While you are at it, check out my Last.FM to see if I listen to the sort of stuff you like (or some stuff you don't know..even better).

The customer is not a moron. The customer is your wife.

Anyone of my bloggy readership read The Guardian?

Personally, I don't. But I heard about this story.

It's more interesting for me personally, considering it concerns somewhere where I used to work, and I heard discussions pertaining to this event.

Now, how do you feel about it?

You read The Guardian, and it's all doom and gloom. But is it branded content revealing itself to be cheap and underhanded, or is it just a good laugh that some silly sod has taken too seriously? Personally, I'm undecided.

There are many tracks that I like from ads, and (because I'm a big music fan) buy on the strength of an ad (yes, I'm a tremendous saddo). Artists like Jose Gonzalez (Sony Balls) and Oh Laura (new Saab ad) have received my hard earned wonga as a result of advertising. Indeed, using and choosing music is one of the most brilliant things about the business for me personally. The right track can be the missing link in the creative execution. Certainly helps sales.

I don't like the notion that it's underhanded, but then.. it was released by a record label called GUM (Saatchi's branded content arm), as this link indicates, and coincided with the launch of rebrand for Shockwaves, and indeed.. the fictional band had already been revealed many months prior.

In this web 2.0 age of transparency, surely the agency and client have done enough to reveal their intentions. But it still seems to leave a bad taste in the mouth. I just don't know.

All I do know (and no, I've not heard the final version of the song) is that if it has a good beat - I'll dance like a muppet to it - whether it has branded affiliations or not.

And part of me is pleased that Saatchis are regaining their 80s vigour; balls to the wall, and let's be contentious. More agencies should brand themselves in this way (though you could argue that Mother sort of have). They need to be careful not to alienate people - but sod it, no matter what you do, you'll alienate someone. But as Richard says, in his post, tread with caution.

And on the subject of good music; check out The Hold Steady. Fucking brilliant front man, and check out the single 'Stuck between Stations'. I'll be trying to see them in the UK.

What do you lot think?

Obligatory Music Post..(with some Batman)

Right then.

No planningy thoughts in this post. It's unabashedly about music.

This may, of course, influence my chances of getting a job at one of London's achingly cool boutique agencies. But fuck that - onward with the reviews.

Up first is the Arctic Monkeys' new album 'Favourite Worst Nightmare'. Yes, the album everyone has been wanking on about since the last one and the EP in the middle.

Honestly - it is better than the first album, in a purely album sense; by that, I mean that it works better together than the first one, but probably has less obvious singles on it. 'Brianstorm', 'Old Yellow Bricks' 'Fluorescent Adolescent' and '505' should be/are singles, but the whole first album could pretty much have been singles.

It's also a lot more of a grower than the first album, with less wordplay and better music - especially the drumming. Listen to the first single, and see what you think:



Anyway, the album gets 7.5/10 from me.

Onto the next one:


Yes, it's The Jam's 'Setting Sons'.

Now, I wasn't much of a Jam fan. I knew the singles, sure - thought they were ok. But no albums before this one.

Now, I happened upon a live recording of 'Eton Rifles', one of the singles from Setting Sons. Watch it below (the camera work is a bit shoddy):



Fucking brilliant, eh? Now, imagine an album which is half a concept album (focusing on 3 friends who lose touch, with Eton Rifles being one of the songs) and sprinkle in a few more tunes - because Weller couldn't write quickly - and you have Setting Sons.

Lots of different styles. And each one is damn brilliant. This album may well get into my top 10 in time (check it out on the Slideshare presentation).

So yes, 9/10 from me.

Last one:


Quantic Soul Orchestra's album 'Pushin' On'. An unexpected purchase this one, but I always like to try and get something like it on the go - sometimes random album purchases can be the best (or worst) things you buy, especially when it's on the strength of one song.

Which can be found below:



It's great, eh? The rest of the album is bloody good as well. Especially the cover of 'Feelin' Good'. Such a funky album - and it managed to fuck up London's best independent record store in Soho.. who didn't have a copy in stock..

Anyway - 8/10 for that one. May rise in time.

Oh, and I've also bought the Grinderman album (entitled 'Grinderman') and the new Idlewild album ('Make Another World'). Both get a solid 8/10 score. And the Idlewild gig I went to would be a 9/10.. the first and last time I'm going to Hammersmith Palais.. sob..

Finally, something funny for reading this far:



Check the blog out. Makes me smile.

Ben Folds is brilliant.

And one more for you.. (not quite as sensitive)

Podcasting nonsense/Oh No..Cucumber Sandwiches!

Well, Meme Huffer's podcast 'Sleazy Listening' made my mind up. It was time for a spot o' podcastery myself. Please find my first effort in the sidebar, entitled 'Oh No Cucumber Sandwiches'.

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Don't ask me why, but hey.... the music itself is a random mixture of all sorts of things. Next week's (or however long it takes me to make another) will undoubtedly feature just as much frippery.

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I was tempted to speak into my microphone, but I'll let you all imagine what I sound like (unless I get bored and do so next week).

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If you are lazy, and can't be arsed to scroll down, download it from here.

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Music! Music for you!

Well, faithful readers (whomever you may be - I've even managed to have someone from the Guardian read this site.. don't quite know how) I'm spoiling you today. First of all there are 2 whole posts, but.. even better than that, one contains music.

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Inspired by Beeker's new site, I've decided to post a track/a couple of tracks each week that I'm enjoying. So click the mystery links and savour the musical flavour (it's in the sidebar under 'Weekly music'

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I've also added my Flickr, for any nutters who want to know what I *really* look like (no, I'm not the ginger one with the beard) or anyone who enjoys random photos of cats - the best animals (sorry Paul).

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And to finish off the adding, I've put some more blogs in the sidebar. In addition to ones I've already mentioned, go and see Coloured Glass (aka Nicholai's blog) and Dan Germain's blog. They are both excellent.

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Today is the greatest day I've ever known (thoughts on music)

Reading Northern Planner's post about music habits got me thinking about my own musical consumption. You, faithful reader, can improve this by buying me some of my musical wishlist.

I felt like thinking about my own musical journey (obviously, this will be massively sparse and incomplete).

1986: I am two years old - Paul Simon's Graceland and Billy Joel's Innocent Man are played a great deal in the car . To this day, 'Diamonds on the Soles of her Shoes' remains my favourite song, and Graceland my favourite album.

1989: Tapes of Fleetwood Mac and the Beatles 'Love Songs' are played. Still can't track down the Beatles cover of Buddy Holly's Words of Love on CD. Cracking tune.

1990 - 1991: Bad is on almost constant repeat in the car. It was the first album I ever 'owned'. Dangerous is notable because it's the first time I felt let down by an album. So much so that I can't remember half of the tracks on it.. unlike the next era of music.

1992 - 1994: Aka the Dad rock years. Albums by Dire Straits, Genesis, Chris Rea, Van Morrison and the Eurythmics dominate my listening habits. I've still got a soft spot for most of these albums. However, interspersed with some New Order, I began to (along with practically everyone else of that age) play a lot more football and listen to a lot more indie music. I think the two were intertwined with me at that age.

1995 - 1998: I must confess, I overlooked 'Definitely Maybe'. But when WTSMG came round, it pretty much dominated all my music buying. Hence, I went on a bit of an indie binge over the next few years; The Verve, Echobelly (snap), The Bluetones, Ocean Colour Scene, Stereophonics and Ash amongst many many others.

1999 - 2001: As well as getting caught up in the inevitable 'The' band craze (White Stripes, Vines et al), I went backwards and listened to Revolver properly, as well as buying and listening to everything Stone Roses related. I still hadn't lost my indie tendancies. Again, Mersey Paradise from their B-Sides album still proves to be one of my favourites.

I began getting into heavier, more feedback inspired albums, such as Psychocandy by the Jesus & Mary Chain, along with the odd psychadelia of Gomez and the bouncy punk pop of Greenday and Jimmy Eat World. Jurassic 5's EP was the sole concession to any form of hip-hop.

2002 - 2003: Going backwards before forwards, I finally picked up some classics by The Smiths and the first RATM album (having bypassed angry teenager music, I now seemed to discover it at University), along with the eponymous Smashing Pumpkins - Siamese Dream still being a favourite of mine.

Intelligent bubblegum pop made an appearance with Fountains of Wayne's Utopia Parkway. Some classical also came into play; I began listening to a lot of Beethoven as a result of this Classic FM (not quite that one, couldn't find the exact one) album. I remain bloody awful at remembering the names of different pieces though. At some point during this year I bought all of Massive Attack's albums.

2004: The bubblegum pop trend continued with some Brendan Benson, but to go with it this time came some groove oriented indie (Kasbian, The Music). However, the biggest discovery that year was Nick Cave. Going to one of his gigs that year, I began collecting most of his albums. I also finally bought the only good Weezer album, after listening to an old tape copy for most of Sixth Form. A musical discovery that year was Robert Randolph and the Family Band; some funky stuff.

2005: I listened to Soundgarden a lot this year, as well as RJD2. For some reason, the tracks 'Rain City' and 'The Imploding Voice' (by Turin Brakes and the SP respectively) remind me of writing my dissertation. On a slightly more chilled out vibe, I got into Elliott Smith and Nick Drake at around this time as well, along with most of the rest of Nick Cave's back catalogue.

2006: So far this year I've been listening to Hot Chip (over and over, like a monkey with a minature cymbal), along with some Secret Machines (who says prog is dead?) and Paul Simon's latest album.

On the suggestion of Jeffre, I've bought some Scritti Politti and I have to say, I'm enjoying it a great deal. Gartside's voice is really interesting...it's a voice of a 14 year old, albeit one with immense talent and a good line in a esoteric lyric. I've also recently bought some Tori Amos, and I'm liking that as well. After seeing DJ Shadow live, I've bought Entroducing. Can't believe I didn't own it before.

So yes, this list is by no means exhaustive.. I think I spent the majority of my student loan on music. No mentions of Mew, Idlewild, Tom Waites, Radiohead or The Clash.

All of these songs are tied up with different parts of my life. Tellingly, there's one song (you've guessed it, Heartbeats) which has got me to buy an album on the back of an ad. If more ads could carry this kind of emotional weight, then they'd be in a very strong position indeed.

I can remember exactly where I was when I was listening to the above albums.

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Sad, but the same can't be said for many ads. Anyway.. a question:

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What's your musical journey, readers?