Sigh. Despite my best intentions and several listens, I have to confess that I have failed to connect with this album. It’s not a bad album, or an unpleasant album, I just can’t do more than admire it casually, and agree to disagree. Rather like someone you meet, you don’t hate each other or feel any malice, you just feel that there’s no common ground.
It’s a slightly folky take on stoner rock – it goes without saying almost that these guys and gal hail from California. It’s quite good in itself, as if the Desert sessions of Josh Homme had been invaded by the spirits of Led Zeppelin and Fairport Convention circa 1968-1973. There are elements of american psychedelia here – relcoating to San Francisco has clearly rubbed off on them in some ways.
Their catchprase, apparently, is ‘Let’s Get Weird.’ But it’s not in the telling way that it would like to be, but in more of an aspirational way that they don’t seem to quite reach. It’s fine, I just can’t fall in love with it, but I respect it. Sorta.
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with a new album entitle
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d Farm. J Mascis may have long white hair instead of long dark hair, goodness only knows whether he and Lou Barlow and Murph have really patched things up…but they’re still sounding great.
They have released a free download single ‘I Want You To Know’ as the first track from it…and
For fans of gorgeous blissed of, drone meets shoegazing, love Galaxie 500/Luna/Spaceman 3 etc.. imagine if such a project could involve members of both bands…an impossible, have your cake and eat it dream, right?
Umm, wrong, as it happens.
One-man band Cheval Sombre emerged in the early 2000s, writing and recording songs in an apartment studio on the Hudson River, NY. After sending his initial demos to Sonic Boom of Spacemen 3 and Spectrum fame, recording sessions with Sonic took place in March 2006, in Jersey City, New Jersey. Further sessions followed over the next two years, both in Rugby, England and in New York City, with guest musicians Br
itta Phillips and Dean Wareham (of Galaxie 500 and Luna) , both of whom operate the Double Feature label. The record was produced by Sonic Boom, who contributes drones and effects.
I have responded to the email that this arrived with saying that, yes please, I would of course like one of the remaining review copies. Th
ultaneous worldwide, but as the music business increasingly gets digital, I don’t know how much longer thatwill remain the case.
Today the Yeah Yeah Yeahs release their third album It’s Blitz! in the UK, it’s already out in Australia and will be out in the US on April 14. This is the lead single ‘Zero’ and I have already played it about ten times this morning and not got bored of i
e impact of a song like Blondie’s ‘Heart Of Glass’ – cool enough for the indie snobs, but immediate and catchy enough for the pop kids. In the video Karen O comes
So let’s hope that ‘they’ (i.e. the tastemakers that tell us what, apparently, we were doing in the nineties) focus on the good stuff.
1990:
I reached my fourteenth birthday in November. The previous year I’d got the latest Kylie album for my birthday, this year I asked for and got albums by the Rolling Stones, the Sex Pistols and the Clash. I moved school, it was rubbish, but it’s a long time ago. I should probably also be honest and admit I wasn’t listening to all of these bands at the time. I started covering my pencil case with tippexed on band names, and as I became more and more into ‘indie/alt
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ernative’ embraced the world that was out there, somewhere, away from a drab East Midlands town, reachable only by dipping into the NME…
This I was listening to. The Mondays were getting on Top Of the Pops, and co
ester, and aware of raves taking place around the M25, but this wasn’t happening to me.
Happy Mondays -‘Step On.’
This was a cover too, but Sinead made it her own. I remember watching the video for this on the Chart Show, and thinking it was great. I’d heard her a couple of years previously with a song called ‘Mandinka’ but this was a bona fide number one ‘on both sides of the pond’ (as they say).
Sinead O’Connor -‘Nothing Compares 2 U.’
In 1990, the Stone Roses were the next big thing, and they were happening. Like
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me they were looking forward to a bright future, then after this single, they were banned from recording by their label of the time, Silvertone, and this would be the last new track from them until November 1994 (unless you include the remixes, and I’m not). My bright future disappeared when I hit adolescense and realised that Adrian Mole had only told me part of it.
Stone Roses -‘One Love.’
I didn’t know much about the goth scene, but this was another track that made it onto Top Of the Pops. I think this band have been somewhat derided over the years, but in my head they still ru
I saw a clip of this video on the Chart Show and was more fascinated by the video than the song. Could you get away with just doing this in a music video?! I read an interview with them in a
n here*, but aren’t, due to current problems with YouTube. This is on there…no I wasn’t listening to them much at the time, though I knew of them, but three years later I got Extricate, the parent album, and beca
This sophomore release is absolutely gorgeous. On the basis of two tracks ‘My Old Hands’ and ‘Backwards Rolling’ I fell hard and fast for this band. They sent me the CD from LA, and it’s set to become one of the albums of the year. ‘Indie pop’ and ‘Psychedelic indie’ are phrases that are banded around so casually across the blogosphere
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that they threaten to lose their meaning at times.
But not here. This album is lean -ten tracks in thirty minutes, and it does not disappoint, or waste any space. Influences include Syd Barrett and Guided By Voices. Like those two acts, THe French Semester can write pop songs that are experimental, and show that the two do not have to be worlds apart.
In a world of indie by numbers, and where people feel t
hat mining 1982 is the closest we can get to innovation in 2009, the French Semester might seem to be out there on their own. They’re not. They’re leading the pack, kickstarting the assault. If you liked The shins -irrespective of whether or not you heard them through Garden Sta
Sigh. For some reason, I’ve never really got into the music of the Japanese composer Susumu Yokota. I feel bad, because it generally seems to one of the unwritten rules that we should like his music.
And I don’t quite know what the problem is. Because I do like a lot of electronica, I’m more and more into a lot of ‘chillout’ (thanks to the musical education I have received from Mrs. 17 Seconds)…yet somehow, whilst I nod my head and say ‘it’s all very good’ this just leaves me unmoved.
Much of what he has produced could be described as being ambient, this album features a lot of vocals from a host of names that seem to be much respected – Caroline Ross, Nancy Elizabeth, Kaori, Efterklang’s Casper Clausen, Our Broken garden’s Anna Bronsted and Claire Hope and Panos Ghikas from the Chap…and I’m still not getting it.
…I know, I keep saying I will post more Hip-Hop and reggae on here, and I really should.
So here’s a Hip-Hop classic from madvillain, the collaboration between MF Doom and Madlib, two ‘indie rappers.’ And no, they aren’t rapping over samples from Coldplay or Razorlight.
I first fell for this album because of the sleeve, which is cool as…but the tracks are just brillliant.
