Archive for April, 2012

Listen to the new Damon Albarn album – streaming now

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Damon Albarn has certainly had an interesting career. There have been highs (late nineties Blur stuff, ‘Demon Days’-era Gorillaz) and lows (that point in the mid nineties when he adopted a cockney accent and took to dancing around like a chimney sweep, despite being a privately-educated art student). With the recent announcement that the upcoming Olympics ceremony would be Blur’s last gig – plus the revelation that there would likely be no new Gorillaz material, ever – many have been wondering what Albarn will get up to next.

The answer is anything but predictable: he has unleashed ‘Dr. Dee’, a ’16th-century folk opera’ focusing on the life of John Dee, mathematician, polymath and advisor to Elizabeth I. Needless to say this is almost certain to divide critical opinion – some are going to label it a bold new artistic direction, others are going to pull the Emperor’s New Clothes card. Luckily, you’ve got the chance to formulate your own opinion, because The Guardian are providing a free stream of the whole thing.

Take a listen and tell us what you think – good, bad, or crushingly indifferent?

Record Store Day 2012: London

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‘Dust off your vinyl’ implores one particular headline, and – to this writer, at least – ‘dusting off’ seems a particularly apt turn of phrase. Aside from professional DJs and enthusiastic collectors, vinyl – hell, the physical music format in general – is a dead prospect; at best a novelty release designed to be deliberately retroactive, at worst a mish-mash of old 45s thrown into a box and flogged at a yard sale.

So: Record Store Day. What exactly is this all about? Enough musicians are taking part in the promotional scheme for it to warrant mainstream media coverage. The NME provides a succinct rundown:

Over 300 artists have offered up new vinyl releases for today’s celebrations, with new material, cover versions, rare tracks and studio outtakes all set to be released.

Arctic Monkeys’ new single ‘R U Mine?’ is available on special purple vinyl, while Two Door Cinema Club’s ‘Acoustic EP’ boasts acoustic versions of their tracks ‘Something Good Can Work’ and ‘Undercover Martyn’.

Kasabian have released their covers of Lana Del Rey’s ‘Video Games’ and Gwen Stefani’s ‘Sweet Escape’ on 7” vinyl and The Clash have a newly digitally remastered version of ‘London Calling’ on vinyl, while Arcade Fire are offering remixes of their track ‘Sprawl II (Mountains Beyond Mountains) and Noel Gallagher has dropped a new EP titled ‘Songs From The Great White North’.

All very nice, but – again – what exactly is Record Store Day? Are people treating this as a bit of nostalgic fun for a dying form of consumer interaction (it’s all too easy to imagine a ‘video rental day’ taking off in the future, during which we all venture down to the few remaining Blockbusters and relive the glory of taking an empty box to the counter)? Or does the industry genuinely hope that this will encourage people to rekindle their love for physical music formats?

If it’s the latter, then a lot of people are going to be very disappointed.

Vinyl still has a place in the specialist market, but to view Record Store Day as anything other than a nice day out is madness. Infact, the whole thing just highlights how digital music has become the norm, and that anything outside that paradigm merits a special occasion. Put it this way: people will occasionally take up the novelty of having a street artist sketch their portrait. It’s kind of fun. Most of the time, though – if they want an image of themselves frozen in time – they’ll just take a quick snap on their iPhone. Sure, digital music hasn’t yet established the concept of ‘owning an artifact’ that physical formats hold … but it soon will.

Record Stores hold a great deal of sentimental baggage for a certain generation, but – to deploy blunt reality – that generation isn’t going to be around forever. Try asking a 16-year-old if they know what a video cassette is, never mind a vinyl LP. And this points to the reason that Record Store Day might actually be more of a hindrance than a help: rather than looking at how the Record Store can evolve in a changing market, we’re being told to celebrate the concept as though nothing is wrong with it. To use a well-trodden musical analogy, this is the epitome of fiddling while Rome burns.

By all means – treat this as a bit of fun, and get a kick out of unwrapping those rare new records. But don’t pretend this is going to change anything regarding the state of music consumption. The needle is scratching a new groove, and no-one can stop it now.

BAMM Rundown: Songs You Never Knew You Knew

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It happens to even the most musically literate of us: you know a song from somewhere (in the case of a tune that’s doing the rounds on the advertising circuit, everywhere) but you don’t know what it’s called. Scientists have a name for this – they call it ‘what the hell is that song? Seriously, it’s driving me mad. Just someone, please, throw me a f**king bone here.’

Anyway, because we’re big acolytes of the whole ‘public service’ thing, we’ve decided to enlighten you this Friday with a quick rundown of those songs you know but don’t really know. If you know what we mean. Y’know.

‘Clubbed To Death’ – Rob Dougan

You say: ‘oh, you know the one. It’s in The Matrix. And it’s always featured on inspirational stuff, like sporting montages or energy drink commercials. And it goes ‘bff-ttt-bff-ttt-bff-ttt-wa-wa-wa-wa-wa’.’

You mean: Clubbed To Death by Rob Dougan. It dates from 1995, which means that if it was a person, it would soon be thinking about going to college. Not to make you feel old or anything.

‘Intro’ – The xx

You say: ‘It’s kind of moody, and kind of low-key, and it’s always – always – wheeled out for fashion shows and commercials which are trying too hard to rebrand stuff as cool.’

You mean: the wistful and vocal-free strains of ‘Intro’ by The xx, the lead-in song from their 2009 debut album.

‘Tom’s Diner’ – Suzanne Vega

You say: ‘Da-da-daaa-da-da-da-daaa-daaa-da-da-daaa-da-da-da-daaa-daaa …’

You mean: ‘Tom’s Diner,’ by the terminally underrated Suzanne Vega – or ‘the one that’s not Luka‘.

‘Picking Up The Pieces’ – Average White Band

You say: ‘It’s the song they use whenever a cool character is walking in slo-mo. Possibly into a casino.’

You mean: this little ditty from the Average White Band. And yes, life would be ten times cooler if this could function as a permanent soundtrack to your every move.

‘Sing Sing Sing’ – Benny Goodman

You say: ‘it’s always playing at that swing club? You know, the one we put on our best suits and go to, then creep out the girls with our weird attempts at dancing? Good times, man, good times.’

You mean: the ironically-titled ‘Sing Sing Sing’ from big band maestro Benny Goodman.

‘Oh Yeah’ – Yello

You say: ‘it’s the one that goes OOOOOOHHHHHH YEEEEEAAAAAAHHHHHHHHH!’

You mean: this eighties classic from Yello, which goes under the name of – you guessed it – ‘Oh Yeah.’

The Tupac hologram: awesome or appalling?

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It’s easy to forget - living as we do in a world where thousands of songs can be carted around on a device the size of a credit card – just how remarkable modern technology is. Advances that would have made heads explode a mere ten to fifteen years ago are now treated as an entirely incidental part of life.

Now … let’s not pretend this is some sort of revolutionary observation. Technology has always progressed this way. But in recent years there’s been an undeniable slant towards entertainment: the production, distribution and consumption of pop culture. Gone are the days when we viewed pesticides or air travel as astonishing – now it’s all about movies, music and multimedia meddling.

Occasionally, however, something comes along which blasts this complacency out of the water. Yesterday, at the much-vaunted Coachella festival, rapper Snoop Dogg performed alongside a holographic recreation of Tupac, a fellow hip-hop artist who was shot dead in Las Vegas in 1996. Take a look:

Incredible, isn’t it? Amazing. Mind-boggling. A true affirmation of the power of a plugged-in planet.

But … is it right?

It’s a rare tech development – especially in an area so politically ‘unimportant’ as music – which brings with it the burden of ethical dilemma. But this … take another look. You’d have to be the hardest of hearts to admit that the whole spectacle is … well … kind of creepy. A dead man on stage, reeling out his hits to the cheering masses.

Needless to say, this is purely an aesthetic observation. Some people may find the masked antics of Slipknot or the deathly drone-rock of Sun O ‘creepy’ – it doesn’t mean that it’s bad. The question we have to ask here is: is this what Tupac would have wanted? Is there any way we can ever know that? And if not, shouldn’t the idea of ‘bringing him back’ be vetoed on principle?

It’s also worth noting that this is purely a performance. It would be easy to argue that of course Tupac would have approved of this – he was a showman, after all, and a showman’s role is to entertain. But what if this technology spread beyond the confines of the stage? How would Tupac fans feel if he was ‘revived’ to sell sneakers or fizzy drinks? The same goes for Elvis, or Michael Jackson, or Whitney Houston, or whoever you like – where does the limit lie with someone’s ‘image’?

Now. Let’s fast-forward a few decades. What would be the ethical ramifications if this technology – resurrecting the dead to make ‘em dance – was applied to something like, say, human cloning or artificial life? Such a statement may inspire a sneering laugh – impossible, surely – but just remember what the man in the street would have said about the iPod thirty years ago.

What do you guys think? Is the Tupac hologram terrific or tasteless?