Good lord, I'm knackered, so forgive the lateness of the hour and the crapness of the post today please. This morning I was listening to an album called White Magic by a band called CEO, (not the rapper as spotify might try to tell you) who are all electropop excellence and well worth checking out if you like that thing or even if you don't, a good ear for a tune is all you need. Anyway without further mumblings here's a video for a song that's been going round in my head all day.
That's it, short and phenomenally sweet. Hope you enjoy.
Tuesday, 9 November 2010
Monday, 8 November 2010
That was 15 years ago and things were very different then
It's not very often that news of a band reforming can make me do anything more than shrug and say "mfffh" in an attempt at appearing interested. The news however that Pulp are to reform makes me genuinely excited. More so that it's the original line-up. Even more so that it's a line up that hasn't played live since 1996. They were rumoured to be reforming for glastonbury last year, but when that didn't happen I sort of gave up.
I first heard Pulp on John Peel way back in 1993, long before I really even knew that much about music, I was tuning the radio looking for some sixties stuff (probably, parents influence was quite heavy back then) and just came across this noise (in a good sense) that I'd not heard before, it was just astounding to me. I bought my first Pulp album in 95 (and probably my third or fourth overall, the others being Blur and Oasis, and let's forget all that shit about those two battling out for number one and all that crap, back then nobody managed to convey what it was to british, disenfranchised, and an outcast better than Jarvis did, and no one managed it til Hayman) and I've loved them ever since. 15 years now. So that's it, I coud go on and on here, but I'm just going to post some of their videos instead.
Lipgloss :-
Mile End (not a proper video):-
I'm a man
Wickerman
That's more then enough, normal service resumed shortly, but for now I'm off to dance like Jarvis
I first heard Pulp on John Peel way back in 1993, long before I really even knew that much about music, I was tuning the radio looking for some sixties stuff (probably, parents influence was quite heavy back then) and just came across this noise (in a good sense) that I'd not heard before, it was just astounding to me. I bought my first Pulp album in 95 (and probably my third or fourth overall, the others being Blur and Oasis, and let's forget all that shit about those two battling out for number one and all that crap, back then nobody managed to convey what it was to british, disenfranchised, and an outcast better than Jarvis did, and no one managed it til Hayman) and I've loved them ever since. 15 years now. So that's it, I coud go on and on here, but I'm just going to post some of their videos instead.
Lipgloss :-
Mile End (not a proper video):-
I'm a man
Wickerman
That's more then enough, normal service resumed shortly, but for now I'm off to dance like Jarvis
Thursday, 4 November 2010
Down by the water
Morning! Imagine a world where you don't start work until 1pm and it gives you a chance to uphold your promise to attempt to post more on a middling blog you write. That's the world I live in!
Anyway straight in.
There's a new Decemberist's song available to download for free (well in exchange for an email) on their website, they've been playing it live for a while but this is the studio version and, oh yes, it's called 'Down By The Water'. I like the Decemberists, I like the folky pentanglesque sound of some their stuff, and the more ambitious side, and the chamber pop side too. And now I like the R.E.M sound they make, because that's what this new song sounds like. A little Cuyahoga maybe? Or something else circa 'Life's Rich Pageant'? Maybe just that fact that Peter Buck's guesting guitar jangly on this is unmistakable. Whatever, Meloy has made no bones about this being the direction that The Decemberists are going to take and I like it. See what you think. You can have a listen here
The Pains of Being Pure At Heart also have a new single out, you can hear it on Pitchfork, it doesn't sound a hell of a lot different then anything else they've done, but I doubt any fans will complain.
Elsewhere to delight your ears, noisepop slackers Matt and Kim have released a new record, I've not heard to much of it yet, but 'Red Paint' off of it is undoubtedly excellent. You can listen to it on the pop sucker blog, which is here
That should be enough for a media heavy Thursday morning.
Anyway straight in.
There's a new Decemberist's song available to download for free (well in exchange for an email) on their website, they've been playing it live for a while but this is the studio version and, oh yes, it's called 'Down By The Water'. I like the Decemberists, I like the folky pentanglesque sound of some their stuff, and the more ambitious side, and the chamber pop side too. And now I like the R.E.M sound they make, because that's what this new song sounds like. A little Cuyahoga maybe? Or something else circa 'Life's Rich Pageant'? Maybe just that fact that Peter Buck's guesting guitar jangly on this is unmistakable. Whatever, Meloy has made no bones about this being the direction that The Decemberists are going to take and I like it. See what you think. You can have a listen here
The Pains of Being Pure At Heart also have a new single out, you can hear it on Pitchfork, it doesn't sound a hell of a lot different then anything else they've done, but I doubt any fans will complain.
Elsewhere to delight your ears, noisepop slackers Matt and Kim have released a new record, I've not heard to much of it yet, but 'Red Paint' off of it is undoubtedly excellent. You can listen to it on the pop sucker blog, which is here
That should be enough for a media heavy Thursday morning.
Wednesday, 3 November 2010
Back, back, back
It seems that whenever I've posted here in recent months it's always with an apology about being lax with updates, and once again it's the same routine. I got around to checking my view stats and it amazes and pleases me in equal measure that some people actually do keep visiting. It gives me an immense feeling of schadenfreude and reminds me that maybe I should actually update more, which I will endeavour to do from now on.
Firstly then I'd like to pimp (or promote, delete as appropriate)a forthcoming gig that promises to be excellent, it's Nottingham's own Horowitz plus a couple more, and should be as racously entertaining as they always are, there's a facebook page for it here. There's an added incentive of it being only £3 if you're unemployed which is a fantastic enticement I feel, take that Government! If you need any other enticement (and you really, really shouldn't) there will also be cake.
There's not much other news to report music wise, but I did go to the End Of The Road festival some months back, and am still reeling from the absolute genius that Sam Beam or Iron and Wine to his friends produced, and I can think of no better way of signing off on a dark, wet, November day then to post the song he opened with on an equallly damp and terrible evening in September. I hope you enjoy it, keep reading and expect some proper updates soon!
Firstly then I'd like to pimp (or promote, delete as appropriate)a forthcoming gig that promises to be excellent, it's Nottingham's own Horowitz plus a couple more, and should be as racously entertaining as they always are, there's a facebook page for it here. There's an added incentive of it being only £3 if you're unemployed which is a fantastic enticement I feel, take that Government! If you need any other enticement (and you really, really shouldn't) there will also be cake.
There's not much other news to report music wise, but I did go to the End Of The Road festival some months back, and am still reeling from the absolute genius that Sam Beam or Iron and Wine to his friends produced, and I can think of no better way of signing off on a dark, wet, November day then to post the song he opened with on an equallly damp and terrible evening in September. I hope you enjoy it, keep reading and expect some proper updates soon!
Monday, 16 August 2010
Dexter Poindexter
Hello; it's been awhile hasn't it? Put that down to a general malaise caused by joblessness (why is it that when one has nothing but spare time there seems to be no desire to use it), afternoon drinking and too much gaming and lets move on.
It's the curse that when you don't do something things that need your attention start to crop up all over the place. Normally the Beerandbands email is as barren as a nun but this month I seem to have recieved some actual stuff from bands and labels, so rather then waste their effort in contacting me I thought I'd better get round to actually reviewing some of this stuff.
So today it's an FREE EP from February Records called Silver Spings by Dexter Poindexter. Dexter Poindexter is one man from Chicago named Tommy Komorowski, apart from this EP he's also released one with Weepop and their's a forthcoming album on Series Two records (who have released some splendid stuff in the past); a strong pedigree indeed, and one which is clearly evident on listening to the EP itself. I've heard it 3 times in succession and already the songs are stuck in my head.
First song 'Two Cracked Heels and a Ghost' sounds ever so slightly like Bright Eyes in the verse (no bad thing at all) before hitting a chorus that's insanely hummable. It sounds instantly like you've heard it before, even though you know you haven't a sure sign of absolutely quality. There's such a giddy joy to it that I defy any lover of good pop music not to take it to their heart. There's a lovely little rock-a-billy type breakdown here too, just for good measure.
Sandwiched in the middle of the EP is 'From The Midwest' which has a much more countrified swing to it. There's not as much of a hook to this one, but it's as enjoyable as the first one, and shows that Dexter Poindexter is capable of diversifying quite nicely.
Final song 'From The West' is probably the pick of the bunch. Again it has a slightly country feel to it, but more upbeat than the previous tune. Once again it possesses an earworm of a chorus. It rounds off the EP nicely too, and leaves me wanting to hear more.
All 3 of these songs are excellent, it's nice to see consistency in an EP, and considering Dexter Poindexter hasn't released too much stuff so for it's very confident and reassured. There are artists who've been around for years who don't make songs as catchy as this. I get the impression they're might be even better to come from him. Bottomline if you like your bands jangly, a little bit country, and full of joy and chorus that'll stay with you, then this is right up your street.
Oh yeah, you can download this (it's part of February Records free digital downloads) from February and really you should, it's not often you get music as good as this for nothing.
It's the curse that when you don't do something things that need your attention start to crop up all over the place. Normally the Beerandbands email is as barren as a nun but this month I seem to have recieved some actual stuff from bands and labels, so rather then waste their effort in contacting me I thought I'd better get round to actually reviewing some of this stuff.
So today it's an FREE EP from February Records called Silver Spings by Dexter Poindexter. Dexter Poindexter is one man from Chicago named Tommy Komorowski, apart from this EP he's also released one with Weepop and their's a forthcoming album on Series Two records (who have released some splendid stuff in the past); a strong pedigree indeed, and one which is clearly evident on listening to the EP itself. I've heard it 3 times in succession and already the songs are stuck in my head. First song 'Two Cracked Heels and a Ghost' sounds ever so slightly like Bright Eyes in the verse (no bad thing at all) before hitting a chorus that's insanely hummable. It sounds instantly like you've heard it before, even though you know you haven't a sure sign of absolutely quality. There's such a giddy joy to it that I defy any lover of good pop music not to take it to their heart. There's a lovely little rock-a-billy type breakdown here too, just for good measure.
Sandwiched in the middle of the EP is 'From The Midwest' which has a much more countrified swing to it. There's not as much of a hook to this one, but it's as enjoyable as the first one, and shows that Dexter Poindexter is capable of diversifying quite nicely.
Final song 'From The West' is probably the pick of the bunch. Again it has a slightly country feel to it, but more upbeat than the previous tune. Once again it possesses an earworm of a chorus. It rounds off the EP nicely too, and leaves me wanting to hear more.
All 3 of these songs are excellent, it's nice to see consistency in an EP, and considering Dexter Poindexter hasn't released too much stuff so for it's very confident and reassured. There are artists who've been around for years who don't make songs as catchy as this. I get the impression they're might be even better to come from him. Bottomline if you like your bands jangly, a little bit country, and full of joy and chorus that'll stay with you, then this is right up your street.
Oh yeah, you can download this (it's part of February Records free digital downloads) from February and really you should, it's not often you get music as good as this for nothing.
Wednesday, 28 July 2010
Stuff and then some
Hello, what's up? In lieu of anything more exciting, here's some stuff I've discovered whilst I've been battling the post-Indietracks blues. It's almost a recognisible medical condition these days.
1. The new Thermals single/song is excellent. I saw it posted on yonder Hype Machine yesterday but apparently it's cropped up on other sites in recent weeks too. Anyway it's vintage Thermals and therefore properly awesome. You can find it lurking here.
2. Whilst googling Indietracks, as you do, I came upon this rather interesting little video nugget. For what ever reason the line "You should your tits to The Felt Tips" amuses me greatly.
3. The Rocky Nest have split up. I think the 'Nest probably weren't as well known as they should have been, but I saw them twice and both times they were highly enjoyable. I'm guessing it's slightly too late now, but if you've never heard them you should at least check out their Myspace and see what you might have been missing.
Finally after the sad news of the demise of The Rocky Nest I was thinking of other bands that I've enjoyed that have died or gone missing in action and I remembered (as I often do in these cases) the rather brilliant Tales Of Jenny. They've been quiet for far too long (and for admittedly a damn good reason) and are another band who are far less well known then they deserve too be, so what better reason then to tell you to head over to their still functioning website and listen to some of the songs on there. Both 'Other Boys' and 'Trotsky Of Our Time' are pop songs of geniune excellence.
1. The new Thermals single/song is excellent. I saw it posted on yonder Hype Machine yesterday but apparently it's cropped up on other sites in recent weeks too. Anyway it's vintage Thermals and therefore properly awesome. You can find it lurking here.
2. Whilst googling Indietracks, as you do, I came upon this rather interesting little video nugget. For what ever reason the line "You should your tits to The Felt Tips" amuses me greatly.
3. The Rocky Nest have split up. I think the 'Nest probably weren't as well known as they should have been, but I saw them twice and both times they were highly enjoyable. I'm guessing it's slightly too late now, but if you've never heard them you should at least check out their Myspace and see what you might have been missing.
Finally after the sad news of the demise of The Rocky Nest I was thinking of other bands that I've enjoyed that have died or gone missing in action and I remembered (as I often do in these cases) the rather brilliant Tales Of Jenny. They've been quiet for far too long (and for admittedly a damn good reason) and are another band who are far less well known then they deserve too be, so what better reason then to tell you to head over to their still functioning website and listen to some of the songs on there. Both 'Other Boys' and 'Trotsky Of Our Time' are pop songs of geniune excellence.
Tuesday, 27 July 2010
Indietracks 2010
I suspect by now (if you have any real interest in indiepop anyway) you've already read a bunch of blogs/posts/facebook statuses about Indietracks, so forgive me for adding to the outpourings of high praise, but it's almost a law that you have to write about it if you've been.
I wasn't even going to go, I'd been every other year but this time I just couldn't really afford it but come Friday night when I was just moping around the house I was more or less ordered to turn up. I'm glad I did. The atmosphere there is just so special; it don't know if it's the Derbyshire air, the sight of steamtrains or the fact that it's full of great people and bands but the moment one steps off the train onto the platform the urge to dance, run and grin like a massive loon for an entire weekend takes over. It affects everyone from the smallest child to the gruffest, biggest man. It's a beautiful thing to see, and a testiment to the festival itself.
Anyway I got there just in time for Red Shoe Diaries who, as a Nottingham dweller, I've seen plenty, and who I've not seen recently as I thought I'd seen them enough. Turns out I forgot how great they actually are. They were on top form, and the new songs and old songs were equally greeted with joy by the crowd in general and especially by the hardcore fans down the front. A nice way to start off my Saturday.
I didn't see a lot of bands on the Saturday, or if I did I was a bit too drunk to remember (which seems likely) but I do remember seeing The Smittens. They've played 3 years in a row now, and each time they've been terrific. A band who seem absolutely made for the festival, not just for the music and how happy the crowd always are but because for much of the weekend wherever I looked there was a least one of them watching a band or wandering around with a big grin. It's nice to see.
I caught a bit of White Town in the church, where I heard 'Your Woman' and realised it's 13 years since I bought that single; which caused me a quick existential moment when I realised just how much time that actually is, before David Tattersall came on and I lost my train of thought. Despite the fact that the church was so hot, and he was pretty ill or had been (a story he told at great length and hilarity) he played a great set. I must confess the songs didn't instantly click with me like The Wave Pictures do but his songcraft and guitar playing are clearly high level and he had the crowd in raptures.
Sunday dawned with me waking up on the backseat of a car, and wandering round the campsite until everyone woke up. At some point I wandered into a great open field and dead silence, which was a marvellous moment. The quiet realisation that just 5 minutes away there was a whole festival going on and yet here were acres of lush green brought home again just how special the whole thing is. Then I went back down to the festival site to imbibe some more and maybe catch a band or two, bands like..
MJ Hibbett and The Validators. Remember when I mentioned a few moments ago how some bands are made for the festival, this lot definitely are. Mark and the band always look so comfortable up there. An unprecendented FOURTH year playing the festival and yet their enthusiasm for the whole thing only seems to grow. They played a storming set too, opening with the (at least for me) tearjerker of 'Billy Jones' to the mass audience participating frenzy of 'Easily Impressed' they filled every single moment of that set with joy. From encouraging mass tweeting of the word 'happiness' to getting the crowd to do the indiekid, every moment was memorable. So much so that a friend remarked to me straight after that "Mark Hibbett is the greatest man in the world" or words to that effect. The other stages only seemed to have about 15 people watching the band in them, they were that popular.
It got better though because then I saw The Specific Heats. Last year everyone who saw they're set in the church came away raveing about it. This year quite alot of people came to see them on the strength of that, and they were even better. Last time out they blew up an amp, but they're so thrilling they don't need to. Mat (and the bands) energy on stage, whirling like a dervish acts like a lightning conductor and whips the crowd into a total frenzy. I think everyone who saw them praised them as highly as possible when they finished. Brilliant.
Next I see Standard Fare. Their's is an album that I've listened to more than any other this year I think, and when I saw them a few weeks ago in Nottingham they were the best band I've seen too. Here at Indietracks they were even better. I think sometimes they are so suprised to see so many people watching them, I don't know if that's because they just don't know how good they are but to see them smiling so much through their set made me very happy. What a set it was too, despite the fact that album hasn't been out for too long, a lot of the songs seem to have become Standards (ha!), Philadelphia especially has the crowd pogoing and yelling in equal measure, and Dancing does the same. The new songs sound brilliant, and they do a lovely cover of a One Happy Island song, whilst Brad of said band played the ukulele. There's always one moment of a festival that I look back on as the moment, and for me, jumping about in the rain whilst yelling "I don't wanna have to wait a year!" was that moment. I'm sure that particular lyric sums up people's attitudes about Indietracks too, I wish it was next year already
I was a bit drained after that, but I did enjoy watching Shrag jumping about, and especially the antics of The Loves; dancers and Jimmy Cairney (of the Bobby Mcgees) dressed as Jesus is the way to go for next year too I think. I enjoyed Slow Club too, who drew a decent crowd and really seemed to be enjoying themselves. I love the discrepancy between the lady singers voice and her none more Yorkshire speaking voice, but it works and it works well.
Finally The Pains come on and I get down the front and dance for a bit, before the legs give out and I have to wander away, but turning my head whilst stood at the side of the stage, and seeing people stood on the hill whilst the day slowly fades and 'This Love is Fucking Right' belts out is magical.
I've written loads, and probably far too much, but it's so hard to write succinctly about Indietracks when it's so much that makes it special, the bands, the venue, the fantastic food, the organisers and volunteers who do such a great job and the trains. But, and it's a cliche, I guess what really makes the festival each year is the people. Without people it's just a bunch of bands playing in a field, with people it's a vindication of everything that everyone who puts on gigs (or festivals) or puts out fanzines or runs a record label or posts on a forum believes in. It's a moment where turning around to see someone dancing behind you can lift your heart 'til you're feeling giddy or someone you haven't seen in forever gives you a hug, and suddenly you remember that, yes, this is what Indietracks is all about. Roll on next year.
I wasn't even going to go, I'd been every other year but this time I just couldn't really afford it but come Friday night when I was just moping around the house I was more or less ordered to turn up. I'm glad I did. The atmosphere there is just so special; it don't know if it's the Derbyshire air, the sight of steamtrains or the fact that it's full of great people and bands but the moment one steps off the train onto the platform the urge to dance, run and grin like a massive loon for an entire weekend takes over. It affects everyone from the smallest child to the gruffest, biggest man. It's a beautiful thing to see, and a testiment to the festival itself.
Anyway I got there just in time for Red Shoe Diaries who, as a Nottingham dweller, I've seen plenty, and who I've not seen recently as I thought I'd seen them enough. Turns out I forgot how great they actually are. They were on top form, and the new songs and old songs were equally greeted with joy by the crowd in general and especially by the hardcore fans down the front. A nice way to start off my Saturday.
I didn't see a lot of bands on the Saturday, or if I did I was a bit too drunk to remember (which seems likely) but I do remember seeing The Smittens. They've played 3 years in a row now, and each time they've been terrific. A band who seem absolutely made for the festival, not just for the music and how happy the crowd always are but because for much of the weekend wherever I looked there was a least one of them watching a band or wandering around with a big grin. It's nice to see.
I caught a bit of White Town in the church, where I heard 'Your Woman' and realised it's 13 years since I bought that single; which caused me a quick existential moment when I realised just how much time that actually is, before David Tattersall came on and I lost my train of thought. Despite the fact that the church was so hot, and he was pretty ill or had been (a story he told at great length and hilarity) he played a great set. I must confess the songs didn't instantly click with me like The Wave Pictures do but his songcraft and guitar playing are clearly high level and he had the crowd in raptures.
Sunday dawned with me waking up on the backseat of a car, and wandering round the campsite until everyone woke up. At some point I wandered into a great open field and dead silence, which was a marvellous moment. The quiet realisation that just 5 minutes away there was a whole festival going on and yet here were acres of lush green brought home again just how special the whole thing is. Then I went back down to the festival site to imbibe some more and maybe catch a band or two, bands like..
MJ Hibbett and The Validators. Remember when I mentioned a few moments ago how some bands are made for the festival, this lot definitely are. Mark and the band always look so comfortable up there. An unprecendented FOURTH year playing the festival and yet their enthusiasm for the whole thing only seems to grow. They played a storming set too, opening with the (at least for me) tearjerker of 'Billy Jones' to the mass audience participating frenzy of 'Easily Impressed' they filled every single moment of that set with joy. From encouraging mass tweeting of the word 'happiness' to getting the crowd to do the indiekid, every moment was memorable. So much so that a friend remarked to me straight after that "Mark Hibbett is the greatest man in the world" or words to that effect. The other stages only seemed to have about 15 people watching the band in them, they were that popular.
It got better though because then I saw The Specific Heats. Last year everyone who saw they're set in the church came away raveing about it. This year quite alot of people came to see them on the strength of that, and they were even better. Last time out they blew up an amp, but they're so thrilling they don't need to. Mat (and the bands) energy on stage, whirling like a dervish acts like a lightning conductor and whips the crowd into a total frenzy. I think everyone who saw them praised them as highly as possible when they finished. Brilliant.
Next I see Standard Fare. Their's is an album that I've listened to more than any other this year I think, and when I saw them a few weeks ago in Nottingham they were the best band I've seen too. Here at Indietracks they were even better. I think sometimes they are so suprised to see so many people watching them, I don't know if that's because they just don't know how good they are but to see them smiling so much through their set made me very happy. What a set it was too, despite the fact that album hasn't been out for too long, a lot of the songs seem to have become Standards (ha!), Philadelphia especially has the crowd pogoing and yelling in equal measure, and Dancing does the same. The new songs sound brilliant, and they do a lovely cover of a One Happy Island song, whilst Brad of said band played the ukulele. There's always one moment of a festival that I look back on as the moment, and for me, jumping about in the rain whilst yelling "I don't wanna have to wait a year!" was that moment. I'm sure that particular lyric sums up people's attitudes about Indietracks too, I wish it was next year already
I was a bit drained after that, but I did enjoy watching Shrag jumping about, and especially the antics of The Loves; dancers and Jimmy Cairney (of the Bobby Mcgees) dressed as Jesus is the way to go for next year too I think. I enjoyed Slow Club too, who drew a decent crowd and really seemed to be enjoying themselves. I love the discrepancy between the lady singers voice and her none more Yorkshire speaking voice, but it works and it works well.
Finally The Pains come on and I get down the front and dance for a bit, before the legs give out and I have to wander away, but turning my head whilst stood at the side of the stage, and seeing people stood on the hill whilst the day slowly fades and 'This Love is Fucking Right' belts out is magical.
I've written loads, and probably far too much, but it's so hard to write succinctly about Indietracks when it's so much that makes it special, the bands, the venue, the fantastic food, the organisers and volunteers who do such a great job and the trains. But, and it's a cliche, I guess what really makes the festival each year is the people. Without people it's just a bunch of bands playing in a field, with people it's a vindication of everything that everyone who puts on gigs (or festivals) or puts out fanzines or runs a record label or posts on a forum believes in. It's a moment where turning around to see someone dancing behind you can lift your heart 'til you're feeling giddy or someone you haven't seen in forever gives you a hug, and suddenly you remember that, yes, this is what Indietracks is all about. Roll on next year.
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