Well those four weeks flew by. Be amazed that stuporcollider has kept a deadline! Anyways, here’s another half hour or so of new music, mostly from YNot festival. As always, support the bands and buy their merch and releases:
Disclaimer: I have sought permission from these bands to play this stuff but couldn’t get to ask everyone and the bands retain their copyright. If anyone from the bands wants me to remove their music from here let me know.
Two magpies crossed my path on the way to work this morning. Now I’m not typically superstitious but I had been planning on uploading the first of my new music podcasts today (OK, I had planned to put them up at the weekend too but I love me some procrastination), and I suppose this could be seen as a good omen.
And yet a better omen became apparent through twitter. 6 Music has been saved. Faithful readers (and the people monitoring my web use) will recall a klaxon call from these very pages, rallying music lovers everywhere to fight for the only radio station playing even half-way decent music in the UK. Well the BBC trust have seen sense and agreed that ‘the case has not been made’ to close the digital station due to “significant public support for the service”.
I can think of no better day to try to launch the first stuporcollider podcast, highlighting new music. So with that in mind…
[Sneaky Neil edit] If you wanna download the mp3 of the podcast, you can do so here. Because we love you.
For the last 6 months or so I have been listening to podcasts of some of the finest new music, and classic, iconic songs from peoplethatactuallyunderstandmusic. Radio 1 is at best an infuriating alternative and at worst a festuring turd polished up and sold to you as popular music. You’re not 3008, I won’t poke your face and it’s definately not Bonkaas, it’s shit. FACT.
The report states: “Given the strength of its popular music radio offering from Radio 1 and 2 and the opportunity to increase the distinctiveness of Radio 2, the BBC has concluded that the most effective and efficient way to deliver popular music on radio is to focus investment on these core networks.” I tend to agree more with Eddie Argos; “The record buying public shouldn’t be voting.”
Surely the whole point in championing new, independant, music is precisely that it isn’t yet popular since the record labels hosting the talent can’t afford the publicity and air time for a radio 1 heavy rotation that seems to go hand in hand with chart success. Some songs I’m not going to like despite how many times you play it, ok. I think the RATM thing over Christmas showed that there IS a musical revolution happening, sick of Scowell’s chokehold on our music, and this is why 6 music is so important.
Luckily the gallows are not on the horizon (metaphorically and musically) for 6 Music just yet and there is plenty we can do to help save it:
Listen to it. Pretty obvious really but some estimates already suggest thet the listening audience has already doubled since the news first broke. If you can listen to it through the iPlayer, even better, as this is one of the key measures of the stations success
I hope you watched that and now you know Amanda Palmer is brilliant. You may also enjoy the fact that she and writer of comics, books, TV shows (and studly gent) Neil Gaiman are to be wed. Here is a photo courtesy of Coilhouse:
Yet another reason to love Amanda Palmer. For reference see also:
This album slipped by me since it was released in November, just eight months after the release of their Debut ‘Hold On Now, Youngster…’ but I’m glad I stumbled across it. Right from the opening lyrics (I think it’s fair to say that I chose hopelessness and inflicted it on the rest of us) it’s clear that tweexcore has grown up; out the window are the songs where the cherryade flows, replaced by bitterness, resentment and jealousy.
The sentiment in the title track, ‘We are beautiful, we are doomed’ shows a much bleaker, darker Los Campesinos! punctuated by the trademark glockenspiel – “I taught myself the only way to vaguely get along in love is to like the other slightly less than you get in return” – the guitars building to the anthemic outpourings about heart failures.
A major criticism of ‘Hold On Now, Youngster…’ may once again put off listners, as the new album is anything but an easy listen, but in my opinion this doesn’t detract from the quality of the songs; I’ll never grow tired of cheerful sounding tunes coupled with self-destructive lyrics like ‘It’s as if I walked into a room to see my ex girlfriend, who by the wasy I’m still in love with, sucking the face of some pretty boy with my favourite bands most popular song in he background’ all tempered by soft female vocals.
Don’t know how many of our regular or irregular readers were watching the Grammys last night, I’m thinking not all that many.
Right before the nominations for best album came the small piece of news that I, and many others have been waiting for for about the last five years. Green Day‘s new album will be released in May this year, and it’s called 21st Century Breakdown.
No clues as to what to expect musically, though if you follow the link above to the official site and sit around for a while the opening bars of something which may (or may not) be the title track start playing.
Since American Idiot the band have parted ways with their long time producer Rob Cavallo who has worked with the band since from Dookieto AI. 21st CB will instead be produced by Butch Vig. Formerly the Drummer of grunge band Garbage Vig has been working as a producer since the early eighties, and his credits include Nirvana’s Nevermind and Smashing Pumpkins’ Siamese Dream. He has also worked on albums with Soul Asylum, Sonic Youth and Jimmy Eat World (Every CV needs a black mark).
Speaking with UK music magazine NME in December last year Billie Joe Armstrong suggested that the then un-named album could be taking a more power-pop direction, naming Cheap Trick, The Who and The Beatles as possible influences. In a surprisingly honest interview Armstrong said “How do you take something… and try to expand on the idea of what is supposed to be three-chord mayhem?”
“How do you do it in a way where the arrangements are just unpredictable? So I’m pushing myself to be progressive in songwriting and being a songwriter.”
As a Green Day fan, what does all this mean to me? The change in style suggestion isn’t really all that shocking considering that it is possible to listen to any of the five albums from Dookie to American Idiot and find something musically different, though still very much Green Day, will anything from the new album be as much a departure as the segue from Eastern European folk to Mexican Mariachi in Misery from Warning? I’m thinking possibly not.
I’ve been a Green Day fan for about fifteen years now, since a friend passed me a tape with Dookie on one side, and Kerplunk on the other. While some bands never change I’ve seen Green Day grow and mature as I’ve grown and matured I’ve seen them come from the music of the minority to making an Album which has topped Charts the world over. The only concern I have at the moment is when tickets for the obligatory World Tour go on Sale.