The Mercury’s in retrograde

Bat for LashesTwo Suns

Florence & The MachineLungs

Friendly FiresFriendly Fires

KasabianWest Ryder Pauper Lunatic Asylum

La RouxLa Roux

The HorrorsPrimary Colours


Led BibSensible Shoes

Lisa HanniganSea Sew

Speech DebelleSpeech Therapy

Sweet Billy Pilgrim Twice Born Men

The InvisibleThe Invisible

Hmm. Nope, it’s not the answer to the question, “what’s just been added to HMV‘s never ending 2 for £10 offer then?” It is, though I’m struggling to quite grasp it, this year’s Mercury Music Prize nominations list. I know that the labels have to submit albums for it (and pay a small entrance fee) but surely things aren’t so screwed up in the music industry that most of the best albums of the last twelve months haven’t been put forward. In which case, how do we end up with the above list? Fuck knows. The Kasabian album has its moments, but I’m not finding myself playing it all that regularly. The Friendly Fires record sounds like Cut Copy and Passion Pit falling down the stairs, out of time with each other. Glasvegas have been confirmed as one-trick ponies with their recent swathes of shite cover versions, all of them based on the premise that a droning guitar noise and a halved BPM equals genius. Rather than just a shite Glasvegas cover version. Did you catch their version of ‘Be My Baby’ from T In The Park? No? Lucky bastard!

La Roux have come up with a couple of decent tunes, including one truly great one, but the album itself is nothing to write home about. I didn’t think anyone still took The Horrors seriously, particularly after listening to their seemingly music-less remix of a track off the new Manics album. The Florence & The Machine bubble will be long burst by the time the winner is announced and we’ll have moved on to another slightly out of tune, kooky young thing. File under Ida Maria. Lisa Hannigan’s music is nice. And that’s the problem, I suppose. Who ever gets remembered for sounding nice? Speech Debelle I’m curious about, but I don’t get the impression that she’s achieved greatness just yet. I do like the Bat For Lashes album, and I suspect it will grow on me more over the year and it might even make the longish end of the year list. So, I suppose I’ll grant them that one. But just that one. I’ve only recently flogged a previous Sweet Billy Pilgrim album on Amazon Marketplace that didn’t do much for me. To be fair, when it comes to the new one, the music does, at least, sound quite interesting and I’ll cautiously reserve judgement, because it’s the kind of music I do sometimes just ‘click’ with, but for now it’s nothing much more than ‘interesting’.

Have you got your jazz token? Here it is, in the shape of Led Bib’s latest record. Meh. And finally, one of the few I’d not previously heard, but which I’m now considering getting as a result of the iTunes samples, ‘The Invisible’ by The Invisible. Slightly squelch electronic music with bits of shoegaze. It’s not an original mix, but it works quite nicely. I’ve read TV On The Radio comparisons whilst doing my research, which have some truth in them. The vocals don’t do much for me, but there’s something interesting going on musically.

I should say that I do applaud the appearance on the list of a couple of pretty new and unhyped acts that do deserve some recognition, but taken as a whole, it’s a list the doesn’t really inspire. Now, I’ve bunged together suggestions for an alternative list and, while I can’t claim any points for obscurist choices, I do think it’s not a bad selection of records. I did only spend a few minutes putting it together and I’m sure I’ve missed off some really obvious, really brilliant records but for now, those twelve songs represent twelve albums that I reckon are pretty bloody good. That list – in a sample it for free form – is available here.

Headless Highcross

I can’t help noticing that I’m attracting quite a lot of traffic from people attempting to find out if Head Entertainment have reopened the Zavvi store in Leicester Highcross, as a result of a recent post I did about the slightly uncertain future of the Head stores that have hitherto appeared. Thus, I feel compelled to offer up the information for those who would like to know. Put simply, the old Zavvi store in Highcross can’t reopen as a Head store because it’s already reopened as Powerplay, seemingly the same people who run the Powerplay Direct website. Now, that website’s not too bad and I’ve bought a few things from them previously but the shop, admittedly in its very early days, didn’t do an awful lot for me. It opened at the start of the month and had its ‘official’ opening on July 4th, mere hours before half the shopping centre got closed due to a pane of glass falling from the ceiling and smashing in rather close proximity to a coffee shop. After this inauspicious start, I visited the following day. The old Virgin black and yellow tape is still on the metal stairs up to the first floor, the old classical music section is still out of action and has ‘classical’ written down the door with the Virgin Megastore logo still visible. The stock is bizarre. While there are some Fopp-like DVD bargains, the rest of the DVD stock is random at best, both in content and price. As for the music range, I didn’t find anything to buy and I did try quite hard. There was the usual chart stuff at the usual prices, some back catalogue bits and bobs that ranged from obvious to esoteric but, in all cases, without much depth. Prices were nothing special and most of the display space given over to music (the raised bit of the first floor, so not much) was filled with the usual 2 for so many quids type offers. I wish them well, as we need as many music retailers as possible, but they’re not worth a visit on their own. Hope that helps!

P.S. Anyone able to confirm how Rockaboom is doing? Wasn’t open on the Sunday when I was there. Lovely little shop.

Not quite just played, but recently

It’s been a while since I did a rambling ‘things-I’ve-been-listening-to-and-quite-like’ type post, so this be one of them.  While plenty of new stuff has crept in, this week has involved a lot of Manics. I’ve been suckered in by the Mini-LP, 2CD Japanese reissues of their studio albums prior to ‘Journal For Plague Lovers’, despite owning all of them and most of the accompanying b-sides. They are utterly lovely though and it has resulted in me realising a couple of things. Firstly, I know the b-sides from the ‘Everything Must Go’ and ‘This Is My Truth’ like they are unofficial national anthems, something that’s not replicated with the more recent albums, suggesting that as I’ve got older, I’ve spent less time with b-sides, despite rabidly gathering them all up. Secondly, as a direct consequence of the last point, the bonus tracks on ‘Lifeblood’, in particular, took me aback. They’re really very, very good and the consistency was still there, even if my attention wasn’t. Oh, and it was another excuse to listen to their gloriously bombastic version of ‘Umbrella’. I love the idea of bonus disc reissues and the notion of an alternative history being offered up by those lesser-known songs. Sadly, very few reissues offer much of any real merit, but these are wonderful collections and this allows me to now say that I didn’t just buy them because they’re shiny and nice. I also bought them to reevaluate a musical legacy. Albeit one in shiny packaging.

I bought The Low Anthem album, ‘Oh My God, Charlie Darwin’, whilst down in London for a bit of real life, over the counter, music you can touch, record shopping back in April. Back then, it was proudly described as a ‘Rough Trade Exclusive’ and it came in a blue card, hand stamped sleeve. It struck me as a marvellous but curious little record and certain tracks got pretty regular plays. I now find it quite surprising to see it receiving a sizeable media focus; it seemed such a tiny, niche release only a few months back. Anyway, because I’m a sad obsessive, I ended up purchasing the vinyl pressing of the new Bella Union release of this wonderful album this week and it sounds absolutely magnificent. It turns out that I haven’t actually bought exactly the same thing twice. Apparently, the album’s been remastered in the interim and resequenced for some reason. I can’t say I really noticed all the much in the way of sonic difference, but then people say that their debut album, ‘What The Crow Brings’, is poorly recorded and I think that sounds rather lovely too. What I can recommend is the pressing quality of this vinyl edition and also that aforementioned debut album which you can buy from their site as a CD preorder (they’re making some more copies – hand stamped and all that malarky) along with a free, instant download to be getting on with. It’s worth also noting that this is yet another solid gold release by Bella Union, a label seemingly unable to do any wrong. Peruse their site, click buy next to pretty much anything and you’ll not be disappointed.

The latest Ohbijou record, ‘Beacons’, is getting played rather a lot round these parts. Ethereal is probably the best word for it and, frankly, it’s more eloquent than sodding marvellous which is the only other way I’ve got for describing it. Pick any track at random, have a listen and I defy you to not fall in love with it. Seriously. Did I mention that it’s on Bella Union?

The new album by The Rumble Strips arrived this week and my first impressions were not great. Apparently, it’s a big step on from the last album, it’s less like Dexy’s and it had added Mark Ronson. Hmm. It’s not a huge success. Firstly, they still sound very like Dexy’s at times, just not as well as they did on the first album and thus it is less enjoyable. Secondly, the sense of fun that made me really rather warm to their debut (‘Girls And Boys In Love’, in particular) doesn’t seem to be there. Now, this is fine in itself, but not when it hasn’t really been replaced with anything else. I’ll give it time, but I think the attempted reinvention may not have been necessary after all.

Plenty of time has been spent picking over all of the b-sides and remixes offered up by the luxurious and really rather shiny (spot the pattern?) Girls Aloud singles collection box set. It’s not hugely revelatory – I knew they were great beforehand, but it’s thoroughly enjoyable stuff for dipping in and out of. The musical equivalent of a ‘toilet book’, I suppose. For example, the weird vocoder effects used on the single mix of ‘Untouchable’ didn’t warrant an additional purchase after buying the album, but it makes for an enjoyable listen when offered up as part of as massive collection of top-notch pop.

I continue to delight in the majesty of the self-titled album by The Duckworth Lewis Method, such is its summery splendour. They recently performed ‘Test Match Special’ on Test Match Special. Arf, arf! What larks. Still, a suitable way to celebrate a decent performance by England this weekend. Alternatively, celebrate shite boats and being pissed by downloading the bonus track, ‘Pedalo’, from iTunes. It was one of the first albums I reviewed for my new glossy-paged home and this leads me nicely to talking about one of the other records from that first batch: Magnolia Electric Co‘s ‘Josephine’, which is Jason Molina‘s finest record in absolutely yonks. And that’s taking as given that the last few have been of a high quality nevertheless. In entirely predictable fashion, I bought the vinyl to accompany my promo CD and it is a fantastic pressing. This is all the more impressive as I’ve found Secretly Canadian vinyl to be of a varying standard in the past and this record truly deserved a decent outing on wax. And so it is. It’s soulful, it’s warm and yet still oddly bleak. Such is Molina’s way with a guitar. If neither Magnolia Electric Co nor his earlier outings as Songs : Ohia aren’t in your record collection you really should set about correcting that criminal oversight.

The quite simply bloody lovely new record by Wilco arrived from the delightfully mispriced (£8.98, free delivery!) Amazon this week and it does not disappoint. Although it seems to be getting some revisionist slagging, I loved ‘Sky Blue Sky’ and so already had high hopes for the appallingly titled, ‘Wilco (The Album)’. The vinyl pressing (What do you expect? It matters!!) is exceptional and the music’s not far behind. At times gently chugging, at times more upbeat and almost poppy than Wilco have been for some time, it’s a concise, summery record that you need to get now so it can soundtrack any remaining nice weather before the end of August. Or you could just wait until the inevitable reissue with a bonus disc that seems to have been the norm for the last few records. Tracks like ‘The Thanks I Get’ were simply tossed out as ‘bonus material’, despite being of album-worthy standard. Here’s hoping for more suitably spiffing bonus stuff this time out.

Having mentioned during the Glastonbury weekend blog overload that I was rather taken with The Hot 8 Brass Band, I’ve been giving their album a few listens of late and, while it’s not one I’ll play from start to finish all that often, it’s does have some truly inspired moments. The take on ‘What’s My Name’ by Snoop Doggy Dogg is reason enough to buy the record, before you even get to the charming interpretation of ‘Sexual Healing’. Suitably bargainous price and copies in stock here.

I’ll conclude with my current favourite pop nuggets. I recently mentioned that I’ve come round to the idea that La Roux, despite looking like an aggressive baby, has released one of the songs of the year with ‘Bulletproof’ and I can’t really see what might actually better it right now. I’m quite taken with the Freemasons single with Sophie Ellis-Bextor, even if she does sing “Heartbreak, make me a darn-ser.” It niggles away at your head that one and it’s hard to shake off. ‘New In Town’ by Little Boots is rather charming but I don’t imagine it has much staying power. The whole of the latest Pet Shop Boys album is still satisfying the vast majority of my pop needs. Feel free to recommend me any great new pop you can think of below.

Right then, suitably rambling as always but with a twist this time. The good folks at both teatunes and Jo-Whiley-hating* The Word magazine regularly share Spotify playlists relating to what they’re banging on about. So, I thought I’d shamelessly steal the idea and try it myself. It doesn’t cover everything listed here – Magnolia Electric Co’s new album’s not on there yet, neither are the Wilco album or La Roux – but it’ll give you a nice idea. Try it by clicking here.


*T’was them that made us have Fearne Cotton on daytimes. They killed her.

How I learned to love silence.

As is always the case, the TV coverage of T In The Park makes it look the swine flu-ridden younger sibling of big brother Glastonbury and as a result it’s been a largely frustrating time spent flicking around the red button in the hope of finding something good. Last night, we were kept waiting until ten to eleven to be treated to all of twenty three minutes of the Manics‘ set, seemingly chopped together by somebody with no ears, so disturbingly shite were the audio edits while the odd bit of the Pet Shop Boys has crept out on today’s red button coverage with as little fanfare as possible. On the plus side, if you like a bit of Idlewild you could have watched it many, many times on the red button. And then a few more times, for good measure.

There’s also been the delights of the ‘InTimate Stage’ – see what they did there? – which has looped round on one of the interactive channels for most of the weekend. A great idea if they actually had lots of intimate performances to show. Instead, they had Glasvegas, Maximo Park and a depressingly awful collaboration between Franz Ferdinand and Edwyn Collins. I wanted it to be good, I really did, but it being shown nigh on fifty times isn’t going to suddenly improve its quality.

As I type, Blur are playing after a delayed start and yet we’re being treated to Keane. Thanks for that. Apparently, Graham‘s been in hosptial and Blur very nearly had to pull out. Reports out of the festival appear to suggest that Snow Patrol‘s set was delayed and extended. Now there was the potential for adding insult to injury – a cancellation from Blur and in replacement even more Snow Patrol. Thankfully, Graham appears to have recovered and Blur took to the stage somewhere around about 10.20pm. I think ruby-faced farmer boy used to sing better when smashed off his tits. Not that there’s much in it.

I’m aware that this is becoming almost stream of consciousness-like in its structure, so I’ll not say much more. Suffice to say, Reggie and Edith continued to be woeful hosts. The one person who presumably had no problem with this was Nick Grimshaw, who in their company appeared to be a presenting colossus. In a scarf. Possibly two. Lily Allen was still great, Lady GaGa still seemed a little unhinged and – just to keep the regular visitors happy – seemed to be dressed to over maximum ladybit exposure risk. Pet Shop Boys looked great from what I saw, Manics were splendid last night, Doves were in good form earlier but, over the whole weekend thus far, it was The Specials who delivered the most enjoyable performance for those sofabound. Bloody marvellous they were. So much so that I actually did a ska dance round the living room for most of the set. Nip over to the BBC site to see some of that set for the next six days.

Perhaps appropriately, as I come to save this post, Franz and Edwyn are on again on the ‘InTimate Stage’ stream. Nope, still shit.

The Power Of The Written (The) Word

As I’m sure I’ve mentioned in the past, I’m not a huge fan of Jo Whiley. I used to love the Evening Session in the Jo and Steve days and I have very fond memories of her interview with Nicky Wire when the Manics were taking their tentative first steps after the disappearance of Richey, but these days I find her daytime show largely uninspiring and thus choose not to subject myself to that particular radio output. Having said all of that, her Session days alone guarantee her a certain immunity from the kind of hatred doled out to people like Bowman. I don’t actively dislike Whiley, I just steer clear aside from her appearances on Glasto coverage.

All of which begs the question, where the hell did Rob Fitzpatrick‘s venom come from in his interview with her in the latest issue of The Word? Under the title, ‘The Bland Leading The Bland’, he proceeds to administer a sizeable shoeing, relentlessly picking at the fact that she doesn’t come off the back of a Nickelback song saying, “Well, that was a load of shit, wasn’t it listeners?” I don’t for a second suspect that Fitzpatrick doesn’t understand the requirements of daytime radio and thus I can only assume that he chooses to overlook the fact that the vast majority of daytime jocks follow a similar policy. It’s hard to imagine the host of a predominantly music-based show playing stuff that’s popular with the listeners and then calling it toss hanging around for long. Ok, Mark & Lard always used to leave less than subtle hints after a song they didn’t like and Moyles has taken to slagging off, well, Nickelback recently but it’s hardly the norm for people to just slag off the tunes they’re playing. Radcliffe and Moyles both focus on banter and entertainment in the links ahead of the music, so they’re possibly not even fair points of comparison. Whichever way you look at it, being in an almost relentlessly good mood is hardly a crime and announcing songs whilst clearly rather jolly is hardly the most ringing endorsement ever proffered upon a piece of music.

What really prompted me to have a rant on here was playing the ‘Now Hear This’ CD that comes free with each issue. Fitzpatrick’s opening question – or deliberately provocative and slightly infantile statement, to be more accurate – was ‘Jo Whiley, you are The Voice of Boring Indie’. Has he heard some of the mediocre, tinpot shite being served up as music directly recommended by The Word team? The odd track (Tony Allen, Marina And The Diamonds and the previously loved on here, Priscilla Ahn) is worthy of note, but tracks by The Scaremongers, Findlay Brown, Julie Feeney, The Yeah Yous and Sharon Robinson, amongst others, are utterly tedious musical wallpaper. As The Word slowly retreats to the middle-ground of safe, hoary old rockdom, it takes the piss to turn around and have a go at Jo Whiley for peddling mediocrity. What revolutionary topic adorns the cover of the latest issue? ‘Why The Beatles are underrated’. How remarkably smart, post-modern and brain-buggeringly original. Presumably, sales are a bit slow, people want holiday reading, the upcoming remasters will be getting more and more press and, perhaps most importantly, put any old shit about The Beatles in a magazine and you’ll sell loads.

Don’t get me wrong, I love the writing of a number of the people who appear in The Word’s pages – I shall forever be indebted to Paul Du Noyer for the leg-up he gave me into reviewing and the lovely Jude Rogers is one of the most splendidly jolly people writing about music right now – but this kind of lazy hatchet job is not becoming and it does make them look like a bunch of smug, middle-aged wankers. To inspire a vitriolic defence of Jo Whiley from someone who doesn’t really have all that much time for her in the first place is perhaps exactly why this is actually a very good piece of writing, but I can’t reconcile that with treating somebody who’s doing a decent job of what she’s required to with so little respect.

Anyway, couldn’t they have used those column inches to do a similar job on Bowman?


I Do Like The Man That He, er, Am

Amazingly, the not-especially-serious last post did attract further dodgy Googlers. How quaint!

Anyhoo, just a quick one to draw your attention to a fabulous bit of news about a release coming up in August. Pete Molinari – you remember, I was banging on about him loads a little over a year ago after being spellbound by his support set for Richard Hawley – is releasing a new covers EP, ‘Today, Tomorrow and Forever’, on which you will be able to find his version of ‘Satisfied Mind’. A great song as it is, but his version is one of the most beautiful things I’ve ever heard. Here is where you can pre-order it now.

Here’s an audience-recorded video of him doing it live. Majestic! (Sadly not complete)

In other tremendous news, James Chapman continues to upload new tracks from his next album as Maps on his MySpace. Have a listen to the latest one here.

One last thing. A new Charlotte Hatherley single has appeared on YouTube. Have a watch/listen below:

Shameless Nudity

It would seem that at least one person has visited this blog in the last week in the hope of seeing pictorial evidence of Lady GaGa‘s lady parts, judging by the search engine referrers list. How quaint. Not that kind of site, I’m afraid. I’m really resisting some weak pun linking this information and the new Bloc Party single. Oh, just do it yourself, you know you want to.

Anyway, I’m still suffering a bit of Glasto withdrawal. What am I supposed to watch on the telly now? I know, it’s hardly the same as those people who actually depressed at no longer physically being in Pilton, but I so love the five-screen red button pleasure. Maybe it is that kind of site after all? Blur was everything I’d hoped they’d be and they genuinely seemed to be bombarded with love by the enormous crowd. Admittedly, watching Jo Whiley nearly crying and Zane Lowe over-analysing some songs, played by a band, on a stage, was pretty disturbing but I still went to bed happy, despite their best efforts. I particularly enjoyed viewing the rest of the night’s footage the following evening via Sky+ and finding a really-quite-pissed Mark Radcliffe confusing the hell out of lovely Lauren Laverne. She genuinely seemed surprised by how ridiculous Radcliffe was being. Brilliant, but ridiculous. The best TV presenting I’ve ever seen him do. In fact, I loved it so much I went out and bought his recently published memoirs. I also picked up new musical writing magazine/glossy-book-thing Loops – a joint venture by Domino Records and Faber & Faber. I’ll report back on what could be an exciting new development in due course, but I think Norman Records summed it up quite nicely in their review: “It’s an attractive little thing, all glossy and professional-looking with words in it from such legendary titans as Nick Cave (who seems to be writing largely about Avril Lavigne‘s vagina), Nick Kent, David Shrigley, Jon Savage, Simon Reynolds… Erm. It smells really nice too. You should probably buy one!” Hmm. I sense the Lady GaGa fans returning via Google again, anytime soon.

I think I’m coming round to the idea that La Roux‘s ‘Bulletproof’ is one of the singles of the year. It’s crept up on me and now I really, really like it. She does need to smile a bit though. She still has that look of the aggressively curious baby. You know the type. Friend shows you baby, you’re supposed to say ‘awww, how sweet’, but, on this occasion, you nearly soil yourself at the sight of ugly baby glaring at you angrily. That’s what she looks like in the video. Ten times more disturbing than any banned Manics album art. Still, the song is brilliant.

The Duckworth Lewis Method‘s album is now actually available for purchase and, as my review has appeared in print, I guess I can gush about it on here now. It’s a wonderful new set by Neil Hannon and Thomas Walsh (of Pugwash fame-ish) that is a delight from the first second to the last. Joyous and unashamedly pop, it rips off the embarrassing side of 70s pop/rock, wafts off into classic Divine Comedy balladry and takes a brief detour into Noel Coward country. (For all Googlers, that was count-ry, ok?) There are some iTunes bonus tracks that they’re currently allowing you to buy individually to go with your proper shop-bought copy of the album (which is in a lovely digipak) but I’m not sure that that will always be the case. HMV in Leicester had a whole chunk of the Artists Alphabetical section set aside for this album’s physical release tomorrow. Bodes well for sales.

Other music I’m thoroughly enjoying but not especially willing to write a lot about right now: Ohbijou, My Latest Novel and Banjo Or Freakout – all brilliant, all on Bella Union (do they ever get it wrong?) The Hot 8 Brass Band and some classic Tony Christie. You know you want to.