MOG - SA's Posts

My Nr 1 Album of 2008! What's Yours? Last Chance To Vote!

SA — Thu, 10 Jul 2008 11:54:20 GMT

I'm gathering all the half year lists of 2008! A list of the best albums of 2008 so far according to all Moggers. If you haven't voted yet, go to this thread: http://mog.com/SA/blog_post/169238 and post your top 10 albums of 2008 so far. This is your last chance to vote! Friday I will definitely lock the voting and start compiling the list.

My Best Album!

Band: Foals

Album: Antidotes

Best Track: Red Socks Pugie

Best Line: Oh, hell no!

In Words: Pulsating rhythms... danceable... modernistic... instrumentally driven

Oh, those rhythms! Those rhythms, I tell you, I can't keep still. From "Balloons" to "Electric Bloom" to "Cassius": It's all just so damn catchy. The vocals are there merely to support the instrumental lines, and to make it just that tad more accessible for the masses. And with success, because the massess have catched on (finally, a bit of good taste from the people). Because Foals have perhaps made the catchiest album while not losing any of their musical credibility, because when you're able to craft such good songs it even makes an indie fan stand between the plebs to party.

My Nr 2 of 2008- What's Yours? Last day to vote!

SA — Wed, 09 Jul 2008 11:45:36 GMT

I'm still in the middle of gathering all the half year lists of 2008! A list of the best albums of 2008 so far according to all Moggers. If you haven't voted yet, go to this thread: http://mog.com/SA/blog_post/169238 and post your top 10 albums of 2008 so far. You only have until tomorrow!

My Nr. 2

Band: Los Campesinos!

Album: Hold On Now, Youngster...

Best Track: Sweet Dreams, Sweet Cheeks

Best Line: I'm taking far too many chances/ on these less than idealistic romances

In Words: Twee... Fun... Catchy... Ramshackle

You couldn't have missed them late 2007 even if you wanted to, because with their delicious EP "Sticking Fingers Into Sockets" they conquered the world. Also because of 'You, Me, Dancing', a little piece of indie heaven which perhaps is too catchy for anyone's good. It also appears on the album, along with loads of new songs. With seven people and even more instruments they somehow can streamline all the noise into those catchy, lovely tunes that are just a whole lot of fun.

Nr. 3 of my 2008 Album List- What's Yours?

SA — Tue, 08 Jul 2008 19:21:07 GMT

My Nr. 3!

Band: Wolf Parade

Album: At Mount Zoomer

Best Track: Fine Young Cannibals

Best Line: And sing the songs your love taught you when you were too young to know what that this was what they were for

In Words: Americana... Nature... Two Vocalists

Canadians Wolf Parade bring a fine piece of American indie. The songs are indie with a folky twist and often referring to nature and the urge to pioneer. The songs are often driven by a nice piano or drum line, providing the canvas on which the other instruments play freely. Instrumentally it all sounds fantastic, and with two vocalists (Krug and Boeckner) who each sing about half the songs there's always something to listen to. Lyrically it works as well.

My Nr. 4 Album of 2008- What's your top 10?

SA — Mon, 07 Jul 2008 16:22:58 GMT

Now, my nr. 4:

Band: No Age

Album: Nouns

Best Track: Eraser

Best Line: Jump on the tube/Just to see you!

In Words: Noise... Pedals... Instrumental wall

Okay, I will admit, normally I'm not a big noise fan. No Age though, on this album they find a way to make noise accessible. Rocking with a lot of pedals, they make these short rock bursts with vocals, who are more in support of the instrumentals than the other way around. Yet, the vocals do make it a bit easier to follow. It rocks, it makes noise, and yet you could just as well listen to it on a ride on the tube or bus or whatever. A great feat from this duo.

My nr 5 Album of 2008- Send Me Yours!

SA — Sun, 06 Jul 2008 10:44:42 GMT

My Nr. 5

Band: Elbow

Album: The Seldom Seen Kid

Best Track: An Audience With the Pope

Best Line: Cause it's breaking my heart, it's breaking my heart/ It's breaking my heart to pull out the rain/ Brother of mine, don't run with those fuckers

In Words: Aerial... Raspy Voice... Aesthetical

Elbow, just having wowed the Glastonbury crowd, put out a fabulous record this year. Lyrical it is always interesting, and it is full with those aerial soundscapes over which Guy Garvey's voice, sometimes high, sometimes in wonderment, sometimes down, tells his tales. "Grounds for Divorce" is a delightful more rocky song with the fantastic line "I've been working on a cocktail called grounds for divorce". Other more introverted songs are for example "An Audience With The Pope", "The Loneliness of a Tower Crane Driver", and "Some Riot". Not to mention a duet with Sheffield troubadour Richard Hawley, and arguably THE feel good, listen-to-it-when-the-sun-comes-up song of the year, "One Day Like This". Elbow struck gold.

My Nr. 6 of 2008, what's yours?

SA — Fri, 04 Jul 2008 18:50:03 GMT

My Nr. 6:

Band: Cut Copy

Album: In Ghost Colours

Best Track: Lights and Music

Best line: What's that you see?/There's all these satellites, satellites, satellites/Haunting you and me/Just one glimpse can change your life, change your life, change your life

In Words: Danceable... Synths... Catchy

Synth and pop mixed beautifully on this album by the Australian band Cut Copy. Highly addictive songs like "Lights and Music" and "So Haunted" follow each other up rapidly, with the occassional instrumental intermezzo in between. Put the volume up loud, and get your dancing shoes on. Live the album holds up with their older songs as good as anything.

My Nr 7 of 2008 thus far, whats yours?

SA — Wed, 02 Jul 2008 12:24:51 GMT

My Nr. 7!

Band: Mystery Jets

Album: Twenty One

Best Track: Half In Love With Elizabeth

Best Line: Oh boy, you don't look a day over 21/ But you already feel like half your life is gone

In Words: Poppy... Tongue in Cheek... Happy

Okay, I didn't really like their first album, but you have to give credit where credit is due. The sophomore effort by Mystery Jets is perhaps the best pure pop album of 2008, at least thus far. Catchy, happy songs without sacrificing their specific characteristics, like the folky element and the sing-a-long bits. The most enjoyable piece of popcorn pop I've listened to, with the two singles surprisingly being the tracks I don't fancy as much as the others.

My Nr 8 of 2008 So Far- What's Yours?

SA — Mon, 30 Jun 2008 11:33:44 GMT

On to my number 8:

Band: Fuck Buttons

Album: Street Horrrsing

Best Track: N/A

Best Line: N/A

In Words: Instrumental... claustrophobic... haunting... mesmerizing...

There is no way you can pick a best track for this album. The album consists of six tracks- except one all over 7 minutes- and all consist of droning noises. So what makes this debut album so good then? It's unexplicable really, but listen to it when you're alone, or commuting with a good headset on, and it grabbed me like no other. The primal drums, the occassional screeching noises, and all the other sounds mesh into this strange, claustrophobic atmosphere. Did I already mention that this year, with only a few exceptions (Cave, obviously) it is the year of instrumental and instrument driven albums?

Nr 9 of My 2008 Half Year List- What's Yours?

SA — Sat, 28 Jun 2008 10:36:44 GMT

On to my number 9:

Band: Portishead

Album: Third

Best Track: The Rip

Best Line: 'Cause I don't know what I've done to deserve you/And I don't know what I'll do without you

In words: Aerial... Mystical...Build-up

Portishead's first since eleven years is a little gem. Eleven years ago I was, well, eleven, and still too young to for my own musical opinion, let alone have heard their album back then. But Third makes up for that now. The aerial instrumental background is the perfect canvas for the frail vocals of Beth Gibbons. Sometimes they shoot out a bit, like on 'Machine Gun', where the instrumentals are more immediate and haunting. It's no wonder this album is currently one of the front runners in the Mog 2008 half year lists race!

Nr 10 of my Top 10 of 2008 So Far- What's Yours?

SA — Thu, 26 Jun 2008 23:42:08 GMT

I'm in the middle of compiling the half year lists of 2008 of every Mogger to find out what the best albums of the first 6 months of 2008 are! If you haven't voted yet, post your top 10 in this thread: http://mog.com/SA/blog_post/169238

Nr 10 of my top 10:

Band: Nick Cave & The Bad Seeds

Album: Dig, Lazarus, Dig!!!

Best Track: Jesus of the Moon

Best Line: 'Cause people often talk about being scared of change/ But for me I'm more afraid of things staying the same

In Words: Storytelling... Lyrical... Delivery

With me not liking Grinderman very much, it was a delight to see Nick Cave back with his Bad Seeds and delivering an album which has its sharp edges in the storytelling. From the rockier 'Dig, Lazarus, Dig!!!' to the melancholic story of 'Jesus of the Moon': It's Nick Cave in fine form. And then of course there is his typical delivery, which puts the album in the top 10 of 2008 so far.

Best Albums of 2008 So Far- The Mog List

SA — Tue, 24 Jun 2008 17:49:20 GMT

Perhaps last year you remember Dale (www.mog.com/dale) gathering all the half year lists. Not only was this fun, it was also informative, because this way you could discover all kinds of albums you perhaps hadn't listened to yet but apparently other moggers are very high on! I can honestly say it was the way I discovered and started to love without barriers The National.

Dale, having a busier life than yours truly, will pass on doing it this year. I contacted him if I perhaps could do it, and here is the result.

So people, start compiling your 2008 Album lists for the first half of the year! Make a top 10, and post it here, with your number 1 being awarded 10 points, number 2 9, number 3 8 and so on.

When you've made a list, you can (and should ;)) post it in this thread. Just post the list, that will do. If you want to defend your choices (and by all means do so!) please do it on your own mog page. It would help me tons. Please only post the top 10 list here. If you can't decide on an order, I will, so best to put it in order. ;)

I will compile all the lists two weeks from now, which will make the deadline the 8th of July.

Use this thread to post your lists, please. I would love it if everyone would just do it like this:

Artist- Album (would get 10 points)
Artist- Album (would get 9 points)
Artist- Album
Etc.

Eligible albums are albums released in 2008 in either the US or the UK.

Throughout the coming two weeks I will post remainders disguised as my own top 10. ;)

Also, it would actually help if people more popular than me would help spread the word around, to get the ultimate MOG 2008 half year list. :) But the only way not to make my head spin is to post the lists here, so please be sure to link to this post if you do find the time to help me advertise this. ;) It is much appreciated.

Let the race begin!

Nijmegen Gives Warm Welcome To Maxïmo Park

SA — Sun, 22 Jun 2008 12:49:45 GMT

The original Dutch review can be found on www.internetkilledtheradiostar.blog.com

If there was one thing that everyone knew, it was that the venue Doornroosje was too small for Maxïmo Park. But whereas in other fields "too small" has a negative connotation, to say that about a venue is quite a compliment. And a really big compliment when it regards Maxïmo Park and Doornroosje, because it is very rare a band like that plays a venue with such a modest size. Because surely, Maxïmo Park already has two albums out, and a third one is on it’s way. The band debuted with a splash with the thrilling A Certain Trigger, and two years later came Our Earthly Pleasures, which was not as well received as their debut. That hardly stopped Maxïmo Park, a band that still is a welcome guest on any headlining stage of a festival. And they are on their way to those festivals, but first they stop in Nijmegen for a warm-up gig. And no one in Nijmegen who dares to complain.

As a matter of fact, there is a buzz of expectation in the room. Of course, the band already has a whole range of crowd pleasers. Take for instance ‘Apply Some Pressure’, ‘Limassol’, and ‘Going Missing’ from their first album. And if that isn’t enough you still have ‘Our Velocity’, ‘The Unshockable’, and ‘Parisian Skies’ off of their second. And all those songs can be found back in the eighteen song set list, in which the band has also hidden two completely new songs. As soon as they start opener ‘Girls Who Play Guitars’ they’ve already won over the crowd, if that wasn’t the case already far in advance. One even got the feeling that even if the DJ just would’ve played their two records, everyone would have had a great time.

Well, that’s not the case entirely of course, because everyone does want to see Paul Smith. The amiable frontman with his trademark hat is a very charismatic appearance. He is in constant motion, not only with his body, but also his facial expressions. Angry, happy, sad: it all passes by in a matter of seconds. And the band also seems to actually like playing the small venue. Where the band by now probably is used to having a gap between the stage and their crowd, here the crowd is right up on the stage, which makes it hard to resist for Paul Smith to occasionally climb on the speakers to tower right above the energetic crowd. Some times you see him smile at the drummer, who gives him a little smile back. Apparently being close to the audience is still what you do it for, and it is also why the crowd has come en masse to Nijmegen. In between the songs Paul Smith rambles on about everything he can think of, occasionally so side tracking himself he is almost completely lost.

And if you see Paul Smith performing, and you look at all the new bands, you wonder what has ever become of the profession frontman. After a generation that brought us not only Paul Smith, but also Alex Kapranos, Tom Smith, Ricky Wilson, Brandon Flowers, and others, you have to conclude that now the field is pretty thinly spread. At least, in the last year I haven’t seen any frontman even coming close in terms of performance and charisma to the likes of Paul Smith. Is it any wonder that this year the best music is instrumentally driven?

Really, Maxïmo Park had won the match from the get go. If the band also starts ‘Limassol’ mid-set then the crowd really is going and there is no way to ruin this party. It is very rare that Holland can welcome a band of this size, a band that has already proven itself and that has a whole line of bona fide hits, in such a small venue. And if this happens, and the band plays with energy and passion- which really was the only thing that could’ve potentially spoiled the night- then it’s a party that people will be talking about long after. That Paul Smith jumbles up a few lines, that the new songs aren’t as immediately catchy as you kind of hoped they would be, and if vocally Paul Smith probably has had better nights: it aren’t even minor spoilers on a night like this. A pretty great party with a pretty big band in a pretty tiny room: you could’ve been there, and perhaps you should’ve been there. (and obviously, that was aimed at the Dutch readers. ;))

For some great pictures I can absolutely get no credit for, go to the gig's lastfm photo page: http://flickr.com/photos/tags/lastfm%3Aevent%3D630642/

Born Ruffians Put On Joyful Show

SA — Wed, 11 Jun 2008 16:20:20 GMT

Original Dutch review on internetkilledtheradiostar.blog.com

The name is somewhat misleading, because a “ruffian” surely is someone a bit rebellious. So you would expect rebellious music, or in any case lines more rebellious than the sweet “Make a point of having fun, it’ll help you get through life.” But for the people who know what is to come, and one can assume that especially in Holland people do not flock to a band based on its band name and then expect something accordingly to it, an evening of delightful indie pop is waiting.

Because that is what Born Ruffians are capable of. The Canadian threesome plays hooky, catchy songs with a cheerful twist. They are often compared to their Brooklyn colleagues Vampire Weekend. Like a lot of new bands Born Ruffians haven’t only looked at the latest lad rock or pop bands, but instead is also heavily influenced by world music and especially jazz. The bass lines especially have a strong jazzy feel to them. Add to that the fitting voice of singer Luke LaLonde, and the intention to vary musically, and then you have Red, Yellow, and Blue, the debut of the three men filled with eleven catchy, colourful songs.

The live set in the small hall of Paradiso, where the usual suspects have gathered, starts like the album with the more quiet ‘Red, Yellow, and Blue’, which is opener for a reason. “If I started my own country, for the flag what colours would I use?”, asks Luke LaLonde out loud. It already is an indication of what kind of band Born Ruffians really is. It is a bit of artsy indie, with a sense of some sort of whimsical escapism. With that said, the gentlemen do not retract into a world of feeble dreams completely, which you can see from the fact that they quote and name a song after Kurt Vonnegut, who was a sharp satirist best known for his “Slaughterhouse- Five.” Having brains has finally become cool and people are not afraid to show it.

Naturally, Born Ruffians in Paradiso is not a reading, because the foremost thing is of course their breezy songs. Hooky and catchy they make music that is easy on the ear to which you can bob along. Maybe the strongest point is the call-and-response they put in the songs, where Luke LaLonde sings something, which is then followed by a response from Mitch De Rosier and Steve Hamelin, who thus can sing as well. The song where you can hear this the best is probably the closer ‘I Need A Life’, where in the chorus the singer sings a line which is followed by the combined voices of Mitch and Steve who holler “Oh but we go out at night”. But also on the afore mentioned ‘Kurt Vonnegut’ you can hear this method. That ‘I Need A Life’ is the closer of the regular set (they would return to play a cover) is not that strange, because it perhaps is their most catchy and dancy tune.

But not only the catchy songs are well taken care of, also the more quiet songs are played well, like ‘Foxes Mate For Life’. Or the breezily hopping ‘Little Garçon’, which live is surprisingly pleasant. Born Ruffians show a lot of variety in their repertoire. They even put emphasis on that with their more elaborate instrumental play live, which is neatly taken care of. Perhaps the only problem with the show is that sometimes mid-song they change from their catchy tune to uncomfortably jazzy rather abruptly. Anyone who is a bit familiar with Jazz knows that in some of the genres you have rather uncomfortable instrumental intermezzos, which the gentlemen here to a lesser extent do as well. Now that is not per definition a bad thing, but the problem is the contrast, as the catchiness suddenly is gone. Also, the music might just sound a bit too light, which might have people put them in the whimsical pop category.

However, these are minor concerns, because the band puts on a very nice show with cheerful, well played songs. The drummer also gets the audience smiling when he asks if people in the room came from the Kane gig downstairs. Kane is a Dutch band which probably most members in the audience at Born Ruffians won’t get all that enthusiastic about. So when no one reacts, the drummer says “good”, to which the audience immediately thinks because he thought they were pretty shit. Which is cause for a bit of hilarity and a lot of agreement. Steve however is quick to say that he is just happy that the audience actually came for them. And deservedly so, because Born Ruffians played a good gig. Who was not convinced by their album and didn’t quite understand all the hoopla for this band might just have changed his or her mind after the concert. Because really, not a lot went wrong, and Born Ruffians made it into a joyful night that made everyone leave with a smile. So the mystery as to why they get so much attention in the blogosphere has been solved tonight, which means that the only mystery remaining is why the bass player’s t-shirt had one women’s sleeve, and one men’s sleeve.

Eclectic Tapes ’n Tapes Play Their New Favorite Town

SA — Sun, 08 Jun 2008 15:16:55 GMT

If you thought that the albums of Tapes ‘n Tapes, the American band that made waves on the South by Southwest festival of 2006, were eclectic, oh boy, then you’re in for a surprise. The trademark of their albums The Loon and, to a lesser extent, Walk It Off that was released this year, is that all the songs sounded nothing alike. From the peaceful ‘Manitoba’ to the bluesy growl of ’10 Gallons Ascots’ to the manic up-tempo of ‘Insistor’, the lads all just put them together on one album. Of course, the half filled (and even that is generous) venue Doornroosje does not expect anything else, but still Tapes ‘n Tapes finds a way to do something else.

Even the way the band takes the stage, after a proper supporting show by Canadians Land of Talks, is slightly peculiar. After the soundcheck the guys do not leave the stage, but instead start an instrumental jam over the music of the DJ. Then they kick off with ‘Jakov’s Suite’ off of their first album, to follow it up with ‘Le Ruse’, which also in the live show is one of their weaker songs. The lads sturdily keep on playing until halfway Josh Grier for the first time speaks to the audience. The funny thing is that when he does, it seems like talking comes pretty easy to him. Spontaneously he jokes that this is the first city with good weather that they’ve played for ages, and that Nijmegen now is their favorite city. “Of the whole world!” he smiles. However, this is the only time we hear him talk, as for the rest of the evening they just keep on playing right until the end.

Their playing has become quite a bit better since their show in Amsterdam two years ago. They seem to have more confidence in their instrumental qualities, which leads to the confidence to add extra things to the songs instrument wise. The bluesy sound also leads to bluesy behavior, with more instrumental freedom. Funny is also that they’ve brought along a trumpet for just this one song, and also some sort of device like thingy which says “woo- woo” (which at the start of the song is either sung or mimed by bass player Erik Appelwick). But the experimental behavior does not end there, because not only do they add to songs, some songs they play differently altogether. ‘Cowbell’ is played twice the speed, for instance, and ‘Insistor’ is also played slightly different, and is a tad less catchy because of it. So you can say that the experimental side both has positive and negative consequences, with the positive being that instrumentally it all sounds a bit more daring.

Highlight of the gig is probably ’10 Gallons Ascots’, which live gets a huge boost. They play it very gutsy, en the growling voice of Grier really fits this song. The frail ‘Say Back Something’ and the bluesy ‘Demon Apple’ are also beautiful live. Especially the more blues orientated songs are played very well. However, it is a pity that you can hear Grier’s voice just fine half of the time, which automatically means that the other half he is almost inaudible for some reason. Not that his voice is God’s greatest gift to mankind, but it would be nice to actually hear it. Also remarkable is that even though they only have two albums and they play sixteen songs, they still manage to create a setlist that misses some of the albums’ highlights. The omission of ‘In Houston’ and ‘Omaha’ is peculiar to say the least. Especially the last song would have been great for the encore that did not exist.

Despite those things you can see that a real proper band has taken the stage, and one that has grown since their last Dutch performance in 2006. They commanded the stage in Nijmegen, for some reason I cannot pinpoint. Which naturally is something else completely than act and pretend like you command the stage, which they certainly do not do. Actually, they do the opposite of that. The gig is precisely what you expect from an American indie band; delightfully stubborn. And sometimes that pays off into great things, and sometimes it does not work at all. And that’s why the show will always be raw and flawed. It’s real American indie, not unlike Modest Mouse, who eventually found a bigger audience as well. To get to that level of success Tapes ‘n Tapes will have to become more consistent in churning out quality, also in their live performance. Because though this Americana show is full of eclectic sounds and quirks, and is delightful because of it, even here there are things that even in a show like this you know just won’t work. But for everyone who loves the stubborn American indie sound, and who do not want a slick British production, it was a good night to be in Doornroosje.

My Absence

SA — Mon, 02 Jun 2008 00:48:10 GMT

Maybe some noticed, perhaps not, but I've been away for a while. Reasons a plenty, one in particular, water under the bridge, bla bla bla. In short, the fun of Mog was severely cut down.

In the mean time I started a Dutch music blog, which none of you can read unfortunately. Occassionaly I will translate some stuff and put it on here, whenever I have the time. And I will start replying on your posts again.

Anyway, just a heads up. Thought it was a bit unfair to some people here who have helped me with stuff to just disappear.

If you are curious what I am listening to and to which shows I am going, check my lastfm page http://www.last.fm/user/sa34 If you see a show and want to know how it was, but I don't post a review here, just mogmail me and I'll give you my thoughts. ;)

Cheers!

The Wombats and I Am Kloot in one Week

SA — Sat, 29 Mar 2008 17:19:24 GMT

So two gigs in a fucked up week, thankfully. Hooray for escapism, eh. ;)

Anyway, the week started with a gig by The Wombats,supported by the Dutch band NeWax. Kudos to NeWax for getting the crowd all warmed up, and for their progression as well. Last time I saw them it was a bit too gimicky, now they really sounded good musically.

But The Wombats. Lets get the cat out of the bag right away, The Wombats will never be a life altering band. However, they are a nice party band, and that they do very well. With jump and dancy hits like "Let's Dance To Joy Division", "Moving to New York", and "Backfire at the Disco" they've got the young crowd jumping and singing a long.

Where they miss is during the slower songs. Too be quite blunt, they are not that good actually, but thanks to the fun oozing out of their every pore and because of the delightful tongue-in-cheek lyrics and straight forward catchiness they get everyone going. But they have to keep everyone going, and slowing it down just shows their weaknesses. But if it's not too expensive and you're in for a bit of fun and dancing, this band is well worth the visit.

So after crappy day, crappy day, crappy day, and the most glorious d- nah, another crappy day, we arrive at the I Am Kloot gig.

Again, kudos to the Dutch supporting act, Pien Feith. Despite boring everyone's socks off with the first and last song, everything in the middle was very good. She has a good voice, and the songs all are in a different pace and show the variety she can put on the table.

Then I Am Kloot. The best thing about the band is frontman John Bramwell. Ugly as fuck, the man has a sort of charisma that made me look at him all the time. Plus his wit, another thing that helped the gig. When the guitarist was out of fags, a whole bunch of cigarettes were thrown on stage. One guy then leaned half over the stage to probably pick a cig and put it closer to the guitarist, but it prompted Bramwell to say: "Yeah, take one back for fuck's sake, he's got ten".

The songs are a bit up and down. The fucked up ones are the best. He opens with the new "One Man Brawl", sneering "Sweetness" with such vigor and such poise even in his eyes that I was instantly captivated. Unfortunately, in some songs you hear the word "love" so many times and some are just pretty blant that the only thing worthwhile is the scrappy voice of Bramwell. A proof that you don't have to be a pretty boy to be a good frontman. The gig however was a bit uneven, though the banter of Bramwell was a nice addition.

Okay, one crappy week and two gigs down. Lets hope the first one was a last and the latter were two of many to come!

I Am Kloot- One Man Brawl

Too Big, I'm Out

SA — Thu, 13 Mar 2008 19:40:52 GMT

Sorry for the length, but this is I think an interesting matter that needs to be carefully put into words and arguments.

Yesterday I saw Editors. Normally I would do a review on it, maybe recount my personal venture with late trains and stuff. But there is something more pressing I want to address.

You know, I love that band. That voice, those great tracks; they are wonderful. Especially live Editors kick it into higher gear. Maybe some of you read my review on their show at Brixton Academy, which was ace!

But here I am, I look around and am amazed by the crowd. Let me first paint the scene, the Heineken Music Hall is a pretty big venue. It is the venue you go to as a stepping stone for arenas. That kind of venue. It is a very large hall.

Now, that is scary by itself, but adding to that this kind of crowd makes it even scarier. To my left is a group of 40+ year olds drinking large cups of beer, chatting throughout the whole show, and they are basically just there to drink, chat, chat up young girls, and basicly being out of their league. Now let me state this very clearly, I've got nothing against 40+ people. During the Brixton gig I referred to, there was a bloke of that age standing next to me, and when the pit hit full force he might not join in, but he stood there. He knew it was coming, he occassionaly smiled when someone bumped into him, and enjoyed the music. That is the type of crowd I want to see at gigs. I want to see people there that know the music, and either want to listen and enjoy it or that want to make a party out of it. Key words here are knowing the music. If you don't know the music, go back to the bar.

So early in the set they play "Lights", I jump, and I am the only one. I'm curious, I jump as high as I can and look at the crowd right in front of the stage. And even now that I see more people, I still am the only one jumping. People only start jumping very late, around "Fingers in the Factories", around the close of the regular set.

Next to me is a guy. He steals glances at me, because I'm playbacking the words, jumping, raising my hand. I'm one of the few. But I'm not crazy, they are.

There is this bit in "The Racing Rats" I really love. 'Let's pretend we never met, let's pretend we're on our own'. The guys next to me find it appropiate to chat right through those lines.

I'm standing in line for the wardrobe. This guy behind me asks his girlfriend if she can name one Editors song. No reply. And still I got the feeling he tagged along with her.

There are people there that are so obviously not in my scene. People I've got nothing in common with, including musical taste. They probably heard "Smokers Outside the Hospital Doors" on the f*cking radio, and liked this ballad-like song so much they thought it would be cool to go to the band's gig. So in that sense, Editors is a bit to blame as well. If they would've kept picking singles like 'Munich' and 'All Sparks' (which they played too slow, the only gripe concerning their performance) then this would not have happened.

But now, here is a band I truly love. I love Tom Smith's voice, I love the songs ('You Are Fading' has turned into a massive monster that can bowl everyone over, and their cover of The Cure's 'Lullaby' is haunting), and I love the performance they give.

And here it is, I've seen them four times now. And the first three of those were great gigs. Especially the Brixton one, which is up there on my all-time gig list. But this venue is too big for me. This crowd is too not music loving for me. People are chatting through moments you shouldn't chat through, people are unwilling to make a party of it from the get go. People look at me strangely because the music actually does something to me and because I want to make a party out of it.

So, is it that time? Is it time to let go of Editors? People often say that when bands get big they aren't interested in that band anymore, and that's not because they (we) are artsy-fartsy hipper-than-thou types that want to feel like they (we!) are better than others. It is because, in this case, I have seen Editors three times, three fantastic times, and then you have a fourth time and the band plays great, but it just does not hit that spark. Why would I pay more money for gigs I will enjoy less? Why would I pay money for a band of which the previous gigs were so much better and felt so right? Just to diminish their legacy in my own mind? Just so that the memory of that band and those previous gigs can get muddled?

Bands sometimes get too big, apparently. And even though Editors delivered a good set, it wasn't up to par with the previous times I saw them. The masses have discovered them, but I don't want to party with the masses because the masses don't know music like I, like we, do.

I went to The National in November. In the front rows was a woman, fifty-ish I would say. Pearl necklace and everything. Every song, she went bananas. Not pit-like obviously, but genuinely enjoying and loving it. I don't have to be surrounded by scenesters of my age, I just want to be surrounded by people who love the music. Editors have come into a next phase, and baby bird has to fly himself now.

Alas, I'm out. Let The Domino State be the next post-punk band I can fancy and love and care about.

MGMT Are In The Fast Lane

SA — Fri, 07 Mar 2008 15:12:12 GMT

Andrew VanWyngarden said that perhaps playing Letterman in January was too early for them, and playing Jools Holland's BBC show maybe was a bit early as well. However, those two shows are big in the States and UK respectively, and they've only added to the ever growing fanbase of the Brooklyn band MGMT. They are moving fast.

And so surely, when a ticket is 7.50 euro, you have to go to one of the hottest new bands. In the sold out small hall of Paradiso the young lads, they expand to five live, entered the stage.

What was striking was that on album I liked the first half much more, but live the five piece kicks the second half of the album into higher quality. Especially their live version of "Future Reflections" was simply superb. A bit of extra guitar play and instrumentals made the musically more challenging second half of the album into a strong package live.

The first half suffered a bit though. "Electric Feel" lacked the cheekiness which could make it a great live track, and the synth driven dance numbers were not peppered with a bit more danciness to get the crowd going.

The gentlemen rarely bantered with the crowd. They went through their set with sometimes a little acknowledgement of the applause, but not much else. They just stood there, and did their stuff. A bit more crowd interaction or show wouldn't do them any harm. I only saw the frontman crack a smile once. And such a lovely smile it is, but a bit rare in the Paradiso small hall. Even little things as a bit more smiling does wonders.

With that said, especially because they played the second half of the album so well live, MGMT delivered a decent concert with some unexpected quality performances. To say there is no room for growth is another thing, but the lads have time enough for that.

My album review of MGMT's "Oracular Spectacular": http://mog.com/SA/blog_post/142451

Los Campesinos! gig taped and reviewed

SA — Thu, 28 Feb 2008 21:15:24 GMT

I admit, I'm kind of nervous. Kind of nervous because normally I can say anything, and you just have to accept it as the truth. I could say the band all took their shirt off and did a bellydance, and there is no one to say they did not. But this time you can actually judge my review and see the gig. Yikes.

So all the more reason to talk about the things you cannot see, but that certainly did happen on the night that Los Campesinos! played the Paradiso Small Hall. We had to take the train around 18:30. I e-mailed my friend that as well. I also e-mailed him that if he wanted to join me for dinner we first had to go grocery shopping, but if he would come around 18:00 that would be fine. I don't have to tell you to do too much math to figure out that in 30 minutes, you can't buy, cook, and eat anything.

We decided on pizza. In my student house we've got this tiny oven, so we cut the pizzas in half, and one half of his and one half of mine went into the oven. When they were done, around 18:45, I suddenly realized that something was amiss.

Result: two young guys walking at a good pace over a bike-only road with each a half pizza (so not a slice, an actual half) in his hand trying to get at the station around 19:15. We did, also thanks to a couple of short sprints, but because of an uncooperative ticket machine we still missed our train. Next train, 19:40. That would mean we would arrive in Amsterdam at 21:10. The gig would start at 21:30. Yikes.

So when the train finally arrived in A'dam we sprinted to the trams, and when the trams arrived at Leidseplein we sprinted to Paradiso. We arrive at the small hall at 21:29, we still can find a bit of space in the middle (any further and we had to push and shove and have people hate us), and a minute later the seven piece from Wales emerge on the stage.

They start with the first three songs of the album, albeit in different order. They are full of energy, and the band engage in fun banter with the gathered crowd. He admitted they arrived early and got a chance to see Amsterdam and "We'd thought we'd do something you can only possibly do in Amsterdam. So we went to Madame Tussaud's."

And that comment right there is what Los Campesinos! is all about. It is a gathering of indie-kids who do what they want to do, even though it might not be the coolest thing on earth. So no talks about how much drugs and booze they had (though a wine bottle went from band member to band member during the gig), but laughingly admitting they got some good pics with the Spice Girls.

Despite the energetic band, who play their full album plus pre-album hits "International Tweexcore Underground" and "We Throw Parties, You Throw Knives", the latter which they usually omit these days, the crowd seemed to be a tad lackluster.

But naturally, when the lengthy introduction to "You! Me! Dancing!" starts the crowd gets restless, and when the first catchy guitar chords start the crowd goes bananas and does so for the remainder of the set. During "Sweet Dreams, Sweet Cheeks" there's even a stage invasion from the indie-kid filled crowd. An encore, new in their set, ends the gig.

The one problem I did have is that it took quite a long time before the young crowd actually began dancing (except for a group at the front right). The band plays extremely catchy music, but if they can't even get those kids dancing, one has to wonder who they will get moving. Nevertheless, I blame the crowd, not the catchiness, and everyone must agree that "You! Me! Dancing!" might just be the catchiest indie single in quite some time.

But hey, you can form your own opinion yourself. Go to www.fabchannel.com, click on concerts, and then on Los Campesinos!, and you can watch the gig in great quality! You need to sit through one ad, but after that it's pure indie-pop/art-pop in great quality. Enjoy!

www.fabchannel.com

Unrelated to the gig, but I've always believed in that you have to get off your butt and do stuff. Sitting on your couch will not make memories. I never get those youngsters chatting all day over MSN or whatever. Some stuff can't be reproduced virtually. I know for a fact that I won't easily forget this day. If only because two boys speedwalking with half a pizza in their hands is not something that happens every day.

Tapes 'n Tapes On The Streets in Paris

SA — Mon, 25 Feb 2008 15:04:22 GMT

So I'm scanning through the programs of the national venues, like I do, and lo and behold, my local venue (which is across the street from me, I cross it, walk a couple of seconds, and I'm there) finally has a decent act. Tapes 'n Tapes, to be exact. So just days after I heard the promo song of their new album (Hang Them All) and got genuinely stoked for the new album of the band that delivered one of the best songs in 2006, I can look forward to seeing them live again just seconds away from where I live. Yay!

And to properly celebrate that, I found on youtube this vid from blogotheque, where they filmed Tapes 'n Tapes roaming the Parisian streets while playing the magnificent Insistor. Enjoy, and especially watch the ad lib of kicking the fence to add that sound to the song.

Screaming For Someone To Come And...

SA — Sat, 23 Feb 2008 13:30:45 GMT

... fucking move! Bloody hell...

And luckily they did after the first song. But this was the most timid start to a Blood Red Shoes gig I've ever been to. The two times I saw them (Bush Hall and Small Hall Paradiso) the crowd went bananas after the first chords of opener "It's Getting Boring By The Sea", and surely, that song has the opening spot to get the crowd involved from the get go. Not so in Utrecht, in the small venue Ekko, where people stood still as if it was a rendition of Tchaikovksy's Swan Lake.

The problem is, Blood Red Shoes ain't no ballet, and this band, more than any other, needs to be moved to to get the full effect. Thankfully, with the second song the crowd went crazy. Or, as some reviews stated "already after the second song". Nah mate, not "already after", "only after", get into the scene.

As said, it is good the crowd did, because the band feeds off of the energy in the crowd, and Blood Red Shoes took off only to land after their last song in the crowd, on the hands of all the people who helped Ansell crowd surf to the exit. So even if you don't want to jump and dance but rather stand back, it is good that some people are dancing and stuff, because it enhances the performance of the band.

To me it becomes more and more apparent that Ansell is the heart and soul of the band. While boys are getting sticky hands from looking at Laura-Mary (uhm... yeah... because of the sweat... that's what I meant...), it is Ansell who is the real charismatic one. I walk into Bush Hall and during the supporting act he stands right in front of me, I watch Los Campesinos! during a festival and he is in the crowd. I get me coat to go and he is in the lobby. And again, I walk into Ekko, and he is standing at the merchandising stand. It's like Where's Waldo?, but a lot easier.

When someone in the crowd asks between songs if they are going to play London Calling (Festival) again, he retorts "yeah, okay, let's do a question and answer session". "You're playing in Holland the day before," the boy tells him, and Ansell answers he didn't know that. "We've got a psychic in the house," Ansell retorts. "If anyone has any questions about their future just ask him." Then he goes on a rave about the London Calling festival, how much fun they had, and how he hopes they play it again. He also went on a compliment spree about the Dutch audiences. "We've never played Utrecht," he tells the crowd. "So how do you guys know us?" he smilingly wonders after the crowd had loosened up.

Keep on playing gigs like this, and everyone in the world will get to know them eventually. Spirited, energetic, and with Ansell as charismatic anchor the band wins everyone over. After the initial hesitation by the crowd they jump and dance so hard that I do believe the venue actually moved a couple of blocks. Apparently to the dismay of all the photographers (and there were a lot of them!). Trying to squeeze into the front row to get a good shot they sometimes took a hit from the dancing horde (now there's a surprise...) "They have no respect for the camera," one of the photographers complains to my friend after the pit moved his way. "Well, some people here come for the music," she confides him, coming short of adding "so bugger off". I love my friends.

And she is right, who cares about pictures. It is about jumping, dancing, screaming along to the fast, hard songs. This is the third time I've seen them, and it still doesn't bore me. It is a riot, a carnaval waiting to happen. Usually during the first chords, sometimes after a song or two, but it is hard to resist Blood Red Shoes. Go see them while they're playing club venues, it is worth every penny (and surely, for under 10 euros, it is the bargain of 2008)

Nothing Ordinary About Babyshambles Gig

SA — Wed, 20 Feb 2008 14:48:51 GMT

"Hey, I've got an even older one!" the lady who scans my ticket yells to her colleagues. Yeah sugar, that's because I've been hanging on to the ticket since two-thousand and fucking six. The year Syd Barrett of Pink Floyd died, the year Italy became World Champions soccer, and also the year pop venue Effenaar expected The Babyshambles to perform. But after three cancellations, last Tuesday- in 2008...- the band of Pete Doherty took the stage.

Quite early, I may add. Arriving well before the supporting act is supposed to go on I already see Withnall and Doherty on stage, doing some sort of a public sound check. Later they are even joined by the rest of the band as they go on to play a mini set. Really cool, and really promising.

Words that can't be said about the 529's, the supporting act. They play bland post-punk. I've seen numerous young post-punk bands, and I do believe that with some of those I've seen the future of the genre. The 529's ain't it.

Then on to the actual set, which starts pretty good with songs like 'The Delivery', 'You Talk', and The Libertines classic 'What Katie Did'. But the crowd cringes for the first time when Doherty stops in the middle of the song, turns to Ficek (The drummer) and tells him publicly that he is playing the song too fast.

A couple of songs later, he sneers something to the public, the only words that I can make out are "cunts", and he leaves the stage. Apparently because people were talking throughout the whole gig.

While leaving, Mike Whitnall tries to get the audience to make noise to persuade Doherty to come back. Probably after some persuading of Whitnall the band take the stage again, surprisingly play a pretty decent version of 'Fuck Forever' which has the crowd go mental, to just as surprisingly leave again after that song. Lights come on, DJ starts playing, and the gig is over.

So after three cancellations, the band only plays half a set. And naturally, the press only talks about Doherty's behaviour, but that's very much understandable, as his behaviour directly undermined the gig.

Sometimes you see a shimmer of the potentially genius Babyshambles, but that is swept away quick enough by Doherty's tabloid antics. The hope that Doherty will actually mean something to British pop again is diminishing per week, and gigs like this do not help.

Alas, move over Doherty, it is time for new heroes, ey.

New Tapes 'n Tapes Song From New Album

SA — Sat, 16 Feb 2008 13:16:13 GMT

Tapes 'n Tapes debut album "The Loon" was one of my favorite albums of 2006, and featured my favorite song of 2006, the fantastic "Insistor". I was interested to see what they were going to do with their second album, because the first one was so eclectic (and at times, I admit, a bit uneven, though "Insistor" and "Omaha" are just mind-blowing). And here it is, the first song from the new album "Walk it Off", and the song is titled "Hang Them All". And if this is an indication, then the second album will be even better than the first! Well, at least I like it, I'm curious to see if you do to. :) In my opinion it looks like they just might have evaded the dreaded sophomore slump. ;)

Their album will be released on the 8th of April, and will feature 12 songs. You can download this song from their official site. http://www.tapesntapes.com/

Debut Album From Brooklyn School Band

SA — Wed, 06 Feb 2008 02:16:21 GMT

Perhaps the most interesting music made in the U.S.A. today comes from the Brooklyn School, where several bands have emerged in the last year with eclectic, interesting, music. Yeasayer is doing a proper tour in Holland with multiple dates, and Vampire Weekend came by a few weeks ago, getting a decent amount of press, which is surprising, because normally indie bands don’t get press. Indeed, those two bands seem to be the flag bearers of the Brooklyn School at the moment. Another exponent of that scene, and one who has just released their debut album, is MGMT. It consists of two young lads, Goldwasser and Van Wyngarden, who live expand to a quintet. They recently released “Oracular Spectacular” and are currently touring in support of their album. The first song, “Time to Pretend” starts as a sarcastic note, a commentary on the path musicians often seem to choose. Shooting immediately to stardom, “make some music, make some money, find some models for wives,” and ultimately they croon that “they were fated to pretend”. The song’s sound is a poppy one and easy on the ear, and “Weekend Wars” continues on that route. “The Youth” is a celebration of youthfulness, but also sadly concluding that it is quite temporary. “The youth is starting to change,” the two lads sing in unison, followed by “Are you starting to change?”, which makes the meaning ambiguous. Either the youth is starting to change because the youth (that generation) is now entering adulthood, or the youth is starting to change because we are growing older, and don’t feel connected with the youth anymore and are not a part of the youth anymore, having us saying that they changed, while in fact, maybe it is us. Then turning up the catchiness factor is “Electric Feel”, with the brilliant line “shock me like an electric eel”. If indie dance clubs have any sense they will play this around three o’clock. Why I don’t know, but I think it especially suits the three o’clock dancers. The drums and vocals mix perfectly. And if your disc jockey is totally inept at his job and accidentally plays the next track, it doesn’t matter, because “Kids” certainly has the beat. My interpretation of this song actually was be careful and don’t get them, but I admit that might not be correct at all. And welcome to the second side of this vinyl record. At least, that is the feeling you get, when suddenly the feel gets more psychedelic, with spacey instrumentals and vocal manipulation. Gone also are the choruses, and more of a narrative takes its place. And even though the chorus returns on “Pieces of What”, the second half never returns to the catchiness of the first part. “Pieces of What” is balladry troubadour like, and with “Of Moons, Birds, and Monsters” they don’t return to conventional pop, especially not with half the song being instrumental. “The Handshake” features whistling, and like in the whole second half of the album, the world music influences is very much apparent. The last song maybe sums up the album most perfectly, starting with a proper indie-rock intro to slow it down, with vocals almost falsetto like, but after that the song slowly evolves again into the synth pop of the first half, just to end by adding a touch of psychedelia to it again. If I just gave you a sense of this album as a hodgepodge, you won’t be too far off, but still only half right. Multiple influences, also a lot from world music, and Goldwasser and VanWyngarden’s determination not to make it a conventional synth pop album make this an eclectic album, but only the second half of it. The first half is synth driven pop, easy on the ear, and quite danceable. The knock on this album is that it feels more like two EP’s than one album, also because of the placing of the songs. The first five seem to belong together, and the last five, even though all of it is unmistakably MGMT, but two different faces from the band. A more scattered placing might have helped that. Eventually though, as two EP’s, they are two very good ones. The first one is easy on the ear, danceable, and loveable whereas the second one is more uncomfortable, more eclectic, but musically well arrived. With ambiguous, often ironic texts the lyrics are well done, and that is one thing both sides have in common. “Oracular Spectacular” is musically tight and indeed a good album, though with the risk that people might only like the first five or the last five songs. But these young guys are fresh and exciting, and well worth a listen. And certainly, wearing capes playing Letterman has never hurt any band.

Petition To Ban January

SA — Mon, 28 Jan 2008 15:33:24 GMT

January is just such a cruel, cruel month. Maybe not for you guys who were at the mog meeting, but for me it certainly was.

Like Joxley already said in one of his posts, exam periods shouldn't be just after Christmas. First of all, it wrecks the days off you have, secondly, it gives your new year a complete false start.

So for the past month I have had my nose in the books, at one point even at a pace of a novel a day, and I even had to work whole nights a time or two to get everything finished in time.

But now I have, thank God, and I can't wait for February. Because that month has the potential to be one of the best months ever (so it also could be one of the most disappointing months ever, but lets not dwell on that too long). Firstly, I have now two weeks off, yay! Secondly, starting the second half of February I will go to three concerts in 7 days! First Babyshambles (if they show up), then Blood Red Shoes (we are going to rock that little room so hard that the venue will have shifted 2 meters when we go home), and then Los Campesinos!, which should be real fun. Not to mention I am only enrolled in two courses, of which one is optional, so yeah, life could be pretty good in February. :) (and to keep this post at least a little bit mog related, this also means I'm gonna post a whole lot more this upcoming month. :P) Also, another reason why February could be great, if I've passed all these exams (and I will get to know the grades the upcoming month), I am one exam and a thesis away from graduating! (fuck me, I'm getting old. :S)

So why not start the year with February? Lets ban January and all its horridness! Who is with me!

Last Friday I had to hand in my last take-home exam. The days before Thursday I had read a novel a day, and then I started typing and finished around 6 in the morning. I took a shower, made a cup of tea, put on me coat, walked to the university, handed the bastard in, and I walked home. I stripped down, turned on my cd player, and went to bed and to sleep accompanied by the consensus number 1 pick of Mog of the year 2007, and in my dreams I did a gay ballet on ice, not having to think for a little while, and peacefully went to sleep at 9 AM:

Best moment of whole friggin' January. By the way, this is going to be their next (and last) single from "Boxer".

Are You Ready For 2008?

SA — Fri, 04 Jan 2008 18:25:11 GMT

2007 officially belongs to the past, and so bands are gearing up to try and be the cream of the crop in 2008. Here are just some albums/bands that I think will colour my year.

1) Franz Ferdinand Franz Ferdinand is gearing up for their third album, and I'm hoping a club tour (yeah, I know, keep dreaming, but still) through Europe will follow it. There songs are magical, the right mix of arty nonsense and dancefloor madness, how can you not love to Scottish ensemble headlined by Kapranos?

2) Los Campesinos (www.myspace.com/loscampesinos) It is you, and me, and it is a whole lot of dancing on Los Campesinos. The eight kids from Wales are going to come with an album in February, and from what I've heard when I saw them live, this might just be the catchiest album you are going to ever hear. After Pop Art we are going to get Art Pop. "You! Me! Dancing!" is the most likeable tune I've heard in decades, and new single "Death To Los Campesinos!" is another one to check out.

3) Blood Red Shoes (www.myspace.com/bloodredshoes) The debut album of this exciting duo will arrive in stores in January, and if their live shows are anything to go by, it's gonna be a riot. A whole lot of noise coming from those two people, but some good noise really. Repeated lines like "How long can you miss someone?" "I wish I was someone better" and "Bury your head, bear your heart, but I can't I can't I can't" are accompanied by rocking guitar and drum lines. Energy a plenty.

4) The Domino State (www.myspace.com/thedominostate) Often heralded as one of the most exciting acts in the London scene at this moment, The Domino State should, if there is any justice, breakthrough in 2008. Live they are delicious, and the songs are in between The Smiths and Joy Division in terms of mood and pacing. Moody and tense, The Domino State mixes two guitars with Tim Bucklands strong vocals woven into a post-punk mixture. "You're the girl with the iron mask, I'm the boy with the heart of glass", Buckland croons on single "Iron Mask", and what I gathered from their live set, that isn't even their best song! (it is, however, the song attached to my post)

5) R.E.M. I love new music, but I also love new music by old bands that are at the top of their game. And perhaps R.E.M. hasn't been there for a while, I'm prepared to give Stipe's formation the benefit of the doubt, especially if you look at the song listing of the new album and hear some of the songs in their live version on youtube, it seems like they might just return to form. Let's hope so, because only a few bands can make stuff like "Man On the Moon" and "Imitation of Life".

6) Tapes 'n Tapes Their beautifully eclectic album "The Loon" showed the true meaning of indie. From the catchy indie-rock of "Insistor" to the lowbeat sadness that shivers through slow-moving "Omaha", the band is not much concerned with getting the greatest audience possible. And seriously, if you are having a tuba on stage when you are an indie-rock formation, well, how can you not love that? At times a tad unfocused on their debut, maybe their second album will be even better, which is good news for indie.

7) The Killers I'm not sure, but I believe their new album is scheduled for a late release in 2008, right? If so, then I'm curious to see what they are going to come up with. The Killers simply ballooned to the top of music land, and consequently got a lot of flack from people who don't like their bands to be big. And with Flowers in a golden suit at Glastonbury, it is easy to mock the Las Vegas formation. But the band is fantastic, and "Mr. Brightside" and "Somebody Told Me" still get me dancing whenever I hear time. Also, "Read My Mind" might just be the best non-dancefloor song they have made to date.

Los Campesinos!- Death To Los Campesinos! (do not turn up the volume in the first 15 seconds! They are without sound! (fooled me...))

An Ode to Music, Mog, and a Happy New Year!

SA — Tue, 01 Jan 2008 21:43:42 GMT

I basically started 2007 by missing Jarvis in Paradiso. I recall saying then “Well, I already have had my biggest disappointed and made my dumbest mistake of the year!”

Warning, don’t say that ever, because it will come back and bite you in the ass.

This last year, I reached new highs and lows, I felt things I had never felt, both as part of the ups and of the downs. I came to a lot of realizations which kind of knocked the naivety right out of me.

In short, I encountered quite some new emotions this year.

And so in this year, music was more important than ever. Music has the power to cheer you up when you are down, the ability to understand what you are going through, and it can comfort you when you need an arm around your shoulder. You can cry in front of music and it is neither ashamed nor embarrassed, but instead by saying just the lines you need to hear it says to you “I understand, it’s okay”. (similarly, btw, you can also dance happily and gaily in front of music without it being ashamed or embarrassed, which also is a rare feat)

Tom Smith comforted me when he sung “Hold out your hand, hold out your hand, I will carry you”.

Paul Banks understood me when he stated “I felt you so much today, I know you try, you try straight into my heart”

Eight youngsters from Wales had me giggling and dancing when they sung “It’s You! It’s Me! And It’s Dancing!”

Matt Berninger joined me while almost embarrassingly admitting “I wanna hurry home to you, put on a slow dumb show for you, and crack you up.”

Music has added a lot to my life this year. It enhanced my highs, it cushioned my lows. It never asks strange questions, it never judges you, and best of all, it is always there when you need it.

And that’s where you guys come in.

Because of Mog, I have encountered a lot of new music that otherwise I might not have heard, and it gave me an outlet for my thoughts on music while being able to read the opinions and insightful commentary of other people. And by adding so much music to my year, you also added a lot to my life as a whole.

So raise your heavenly glasses to the heavens, and to all who read this thank you and cheers, and let’s hope that more good music will infiltrate our lives and that in the upcoming year there may be all the highs of 2007, and not as many lows and new emotions that scare the shit out of me in 2008.

Let’s make it a good year eh, because remember, We’re the heirs to the glimmering world, so let’s just run like we’re awesome, totally genius, and serve each other the sky so that together we will make this world glimmer even more than ever for everyone in 2008.

Nr 1- Editors- An End Has A Start

SA — Mon, 31 Dec 2007 00:43:10 GMT

My number 1 album of 2007!

Band: Editors Title: An End Has a Start Best Track: The Racing Rats Best Line: “You’re the moment, love has passed. We all must learn to hate you.”

Trivia: Second album by Editors First Single was “Smoking Outside the Hospital Doors” Saw them live at Brixton Academy and at De Melkweg.

Music is an important part in my life, as I find that music can help you through a period of your life, and can have a comforting and healing quality. Editors' second album "An End Has A Start" did just that for me. What puts them at the number one spot is not only the piercing guitar, nor Tom Smith's excellent and by times haunting voice, nor is it the addition of the piano which adds more depth to their sound. It is just that this is a band that seems to talk directly to you. Or with you, or says exactly that what you would love to say and what you feel. When you are standing there inches from Tom Smith, and he says "Hold out your hand, hold out your hand, I will carry you", sometimes it is just that what you need. Or when he confides you that "Every little piece of your life, will mean something to someone". From another narrative perspective, sentences like "You're the moment love has past, we all must learn to hate you" or "Let's pretend we never met, let's pretend we're on our own" are sentences that meant a lot to me, and to sing them along with Tom Smith's voice of angst, sadness and angre was important to me. Another example: "How can you always be late for your arrival? You know I'll forgive you every single time". Sometimes, yes, the lyrics can be a bit too grand ("If a plane were to fall from the sky, how big a hole would it leave" say what?) but it sometimes also just hits that spot, the exact right spot, a spot only a couple of bands know to find. Sometimes comforting, sometimes angry (both see above), sometimes sad, sometimes hopeful, sometimes finding fault with his own: Editors bring so much emotion to the table, sometimes with gusto, sometimes perfectly restrained, that for me, their album was this year's number one.

"When Editors go straight for the heart, often they strike their truest, and most resonant, chord."- Uncut

"Instead, An End Has A Start actually sounds like it was crafted as ten quite individual chapters of a long-running saga; surprisingly, though, it ultimately works better than its predecessor as a cohesive, flowing album."- Drowned in Sound

"Editors have plenty of time ahead of them for their sound to evolve; for now, we should be glad that they’re clearly the best band of their generation at producing soundscapes of desolation that are also catchy enough to feature on Radio 1."- Artrocker

Nr 2- The National- Boxer

SA — Sat, 29 Dec 2007 22:39:15 GMT

Nr 2 of my top 10 countdown of 2007

Band: The National Title: Boxer Best Track: Slow Show Best Line: “It’s just another uninnocent, elegant fall into the unmagnificent live of adults.”

Trivia: The fourth album of The National “Mistaken for Strangers” was the first single Saw them live at De Melkweg Lines of “Slow Show” were already used on the track “29 Years” of their debut

Maybe over a year, or a couple of years, when looking back I will say that this album was the essential and defining album of 2007, or perhaps this decade. Because of what the number one meant to me this year (and it is a 2007 list after all) I just could not put it at number one just yet. But the more you listen to the album the more beautiful it becomes, and the more urgent as well. Filled with magnificent stories and emotions, "Boxer" grabs you by the throat and never lets you go, and the funny part is you don't want it to. Delivering punch after punch, more often than not right in the gut, "Boxer" makes you reflect on your life, on what you are doing, and on what you want to be doing. Berninger angrily yet sadly warns "Walk away now, and you're gonna start a war", he hopelessly reflects "It's another uninnocent, elegant fall into the unmagnificent life of adults", he melancholically states "they find us here, here in the guest room, where we throw money at each other and cry", and on the verge of losing the one he loves, he fraily says "I wanna hurry home to you, put on a slow, dumb show for you, and crack you up" as if it is the thing he wants the most, a romantic picture with which he wants to revive the love and innocence they once had, but which at the moment seems so far away.

I could talk hours about the lyrics, about the themes, about the sense of lostness and the sense of not wanting 'this'. Also funny is that with every listen, I tend to have a different favorite. Not particularly loving one track one minute, and then completely in awe with it the next. This album is our life. Take the time, and layer by layer you will discover more riches, and through different stages of life you will get different things out of it. Some people do not believe that art or literature or a knowledge about history or indeed a good album can add anything to your social consciousness, to your life, but if you do believe that, then this album is one that should never leave your record collection. This album is to music what Campbell's Soup Cans is to pop-art, what "1984" is to modern literature, and what "Modern Times" is to comedy: Essential, thought-provoking, and of exquisite beauty.

"But if 2007 ends up being the year the National finally achieve real triumph, there's no reason to root against it. After a stunning achievement like Boxer, no band deserves it more."- Stylus

"The Brooklyn band's new Boxer is even more measured and seemingly mellow than 2005's incredible Alligator, but bubbling under the dark, glassy surface are smart, engaging songs that will stay imprinted on brains when others' weightless melodies are relegated to memory's attic." - A.V. Club

"Like those on their last album, these songs reveal themselves gradually but surely, building to the inevitable moment when they hit you in the gut. It's the rare album that gives back whatever you put into it."- Pitchfork

Nr 3- Interpol- Our Love to Admire

SA — Fri, 28 Dec 2007 23:56:25 GMT

Rolling into the top 3, my nr 3 of my top 10 albums of 2007!

Band: Interpol Title: Our Love to Admire Best Track: Pioneer to the Falls Best Line: “I felt you so much today. I know you try, you try, straight into my heart.”

Trivia: Third album by Interpol First Single was “The Heinrich Maneuver” Saw them live at Paradiso and the 013 this year

When I first listened to this album I posted on the brilliance of it. Since then, I've read a lot of other opinions, and a lot of people seemed disappointed with it, and it got quite some flack. Well, I'm sticking by my opinion, and I think it is a great album. The build-up of atmosphere is so beautiful, and it seems as if more than ever the instruments just melt into this one sound. Yes, the guitar hooks may be not as present as on other albums, so the catchiness factor of stuff like "Evil" or "Slow Hands" is probably absent, but instead you get an album with this brooding, simmering angst. From the sneering of "How are things on the West Coast?", to the apologetic "Nobody told you, that I could just waltz through, and shake up your style", to the realization of "but there are days in this life, when you see the teeth marks of time, two lovers divide". The video is of their Lowlands performance of their opener "Pioneer to the Falls", which perhaps is the best song they ever made. It constantly adds and substracts instruments, and changes the role and pace of the instruments, which is combined with passages Banks almost does without any help from the other three, and in a text where they get the emotional punch of post-punk absolutely right. A shivering, emotional, epic that should stand the test of time if there is any justice.

" This is not a retread of Antics, it is a massive upgrade, an album where the songwriting, production and arrangements blow even Antics’ highpoints like “C’Mere” and “Slow Hands” out of the water."- Uncut

"But ‘Our Love To Admire’ finds its true strength as a whole. From its opening notes to its final breath, the album’s enveloping atmospherics seep into the senses, giving the everyday a film noir quality."- NME

"Interpol have raised the bar once again, something they’re making quite the habit of."- Drowned in Sound

Nr 4- The Cinematics- A Strange Education

SA — Thu, 27 Dec 2007 13:48:16 GMT

My nr 4 in my top 10 of 2007 countdown!

Band: The Cinematics Title: A Strange Education Best Track: Break Best Line: "No it's not what I wanted, but at least she is holding my hand"

Trivia: The debut album of The Cinematics “Chase” was the first single Saw them live at Vredeburg “Human” is singer’s Scott Rinning’s fav song of the album

Maybe this is the pigeon among the doves. Most of the other albums feature on numerous best of lists among critics, but I guess you won't see this one around. They didn't get as much attention as some other debuting bands, and I hope that will change soon. "A Strange Education" is a very good album by this Glasgow post-punk formation, filled with great hooks, danceable songs and quality music-making. Moreover, I was blown away by the power of Scott Rinning's voice, which especially live is a real treat. Also, and perhaps even moreso than their Birmingham post-punk buddies Editors, they have insightful comments to make about current life and love. Sentences like "No it's not what I wanted, but at least she's holding my hand", "I've been breaking my back with the weight of your heart", "Where substance is nothing and image is everything" really capture the essence of time and emotion of this day and age. Added here (by vid, because audio uploading isn't working for me at all at the moment) is one of the catchiest, albeit more straightforward in it's build-up, songs of the album, "Break".

"The Cinematics are their own band, people, and a very, very, very strong one at that!" - Popmatters

"Here’s the coolest new rock CD that’s crossed my desk in the last few weeks"- Dayton Daily News

"Boasting enough hooks-per-song to make your ears take off and dance before you, their debut album A Strange Education is an indication of their great potential." - BTBeat

Nr 5- Modest Mouse- We Were Dead Before The Ship Even Sank

SA — Sun, 23 Dec 2007 18:39:40 GMT

Nr 5 of my top 10 of 2007!

Band: Modest Mouse Title: We Were Dead Before the Ship Even Sank Best Track: Dashboard Best line: “Who the hell made you the boss? If you say what to do, I know what not to stop.”

Trivia: “Dashboard” was the first single Toured the album with Johnny Marr, Former The Smiths guitarist The fifth album of Modest Mouse

Stubborn and with its own curious sound, that is maybe the best way to label this album (or the band for that matter). The vocals of Isaac Brock are peculiar. As far from an angelic voice as you can get, that peculiar voice along with those stubborn instruments (aided for the first time by the guitar of Ex- The Smiths Johnny Marr) make sure that the band has its own sound. Staying clear from any conventions, they mix up-tempo with slow, they have the zooming of a fly open one song, and it is one of the few albums I've seen that counts fourteen tracks. "Dashboard" is perhaps the closest of all 14 to be an indie-rock anthem/dancefloor filler, and so outrageously catchy you can't help but fall in love with it. Another highlight is "Parting of the Sensory", with Brock sneering "Who the hell made you the boss?", and with the kick up of the pace at the end. The album bounces from one place to another without ever visiting a convential or formulaic town, but while always reaching the greatest heights.

"Easier than ever to grasp, yet still constantly, joyously vexing, We Were Dead is another terrific set from a band that couldn't make something dull even if drowning were the only other option."- A.V. Club

"Modest Mouse have never been the most conventional band, but persuading a hero to join forces seems to have ratcheted up Brock's pugnacious confidence, too, particularly on March Into the Sea and Parting of the Sensory, both wild and exquisitely weird."- The Guardian

"This is a band working at the very top of their game, and this album is a beautiful, brilliant beast."- OMH

Nr 6- Kings of Leon- Because of the Times

SA — Sat, 22 Dec 2007 15:25:21 GMT

My number 6 of my top 10 of 2007!

Band: Kings of Leon Title: Because of the Times Best Track: Knocked Up Best Line: “Here’s to the kids out there smoking in the streets. They’re way too young, but I’m way too old to preach.”

Trivia: “On Call” was the first single. The third album of Kings of Leon

Rarely has an opening track engaged me so as "Knocked Up" on this album. The song starts with drums, and slowly all the instruments are eased in, after which the vocals start and the song rolls into this anthemic, marathon of a song. Add to that "On Call", and in the first three songs you already have a winner. More laid back songs are juxtaposed with scorching guitar rockers with the occasional screaming and screeching. And even though the rest of the album doesn't reach the heights of the first three songs (but what a heights they are), the other songs are definitely good enough to make the whole album worth a listen, and one of the years best at that.

"For the most part, though, Because Of The Times is an album of striking textures, on which Caleb Followill's lazy voice strains against skittering guitars, softly thumping drum rolls, and rapidly percolating bass."- A.V. Club

"If you like your Americana raw and passionate, look no further."- The Guardian

"If less accessible on first hearing than its predecessors, the result is an epic wide-screen movie of a CD and the band's best to date."- Entertainment Weekly

Nr 7- Spoon- Ga Ga Ga Ga Ga

SA — Fri, 21 Dec 2007 20:21:12 GMT

Nr 7 in my top 10 of 2007 Countdown!

Band: Spoon Title: Ga Ga Ga Ga Ga Best Track: The Ghost of You Lingers Best Line: “They told me have a look in commercial appeal, and start getting that haircut sharp.”

Trivia: This is Spoon’s sixth album “Ga Ga Ga Ga Ga” was originally Also the name of “The Ghost of you lingers.”

It's all in the rhythms. At least, on this album, it adds hugely to the quality. From the "ga ga ga ga ga" of the piano in "The Ghost of You Lingers" to the horn section in "The Underdog", it are the instruments and the interplay that are beautiful. A real piece of music, often undercut by more dark and brooding lyrics. Although they try a lot of different things, one way or the other, they do achieve to all make it sound like it belongs to each other. No bombastics, no scorching guitars, it all blends into this dazzling mixture of songs, which makes it a delight to listen to.

"Through whatever process they use, the band has also managed to create yet another wonderfully singular indie rock record, unafraid of unfettered passion or self-sabotage, and which affirms a shrouded, hybrid style as unquestionably theirs."- Pitchfork

"The result is an indie-rock album that sounds mysterious without being diffident or difficult, without piling on the noise or retreating into whimsy."- The New York Times

"The grooves run the stylistic gamut, from hard rockers (the standoffish “Don’t Make Me a Target”, which recycles the descending-riff ferocity of Kill the Moonlight‘s “The Way We Get By”, and the galloping, scrunched-note jam “Finer Feelings"), to Detroit strut ("You Got Yr. Cherry Bomb"), the minimalist pulse of Reichian repetition ("The Ghost of You Lingers"), bubbly bass-driven dance fodder ("Don’t You Evah”, a cover of an unreleased song by the NYC band the Natural History), and skinny-tied aggression ("Eddie’s Ragga")."- Popmatters

Nr 8- Blonde Redhead- 23

SA — Wed, 19 Dec 2007 16:55:53 GMT

So, number 8 of my best of top 10 2007 countdown!

Band: Blonde Redhead Title: 23 Best Track: The Dress Best Line: “Your love waits you while you are cheating.”

Trivia: The seventh album of Blonde Redhead. “Silently” was the first single Saw them live in the 013 Mike Mills directed the vid of “Top Ranking”, starring Miranda July

They have been around for quite a while now, and Blonde Redhead is already a celebrated name in the New York scene. Their latest album, "23", is a great listen because it has an air of aerial, an air of mystique, which they juxtapose with tracks with guitar distortions and that are just that bit more rocky. Sometimes the lyrics are mystifying, at other times they are emotionally charged. In "The Dress" Kazu Makino in her typical voice puts herself in the role of someone who is being cheated on, and she sings "I love you less, now that I know you". The transition to the next track, "SW" is fantastic and typical of this album. From the aerial sadness of "The Dress" they get to a more rocky sound, sung by one of the Simone brothers. It is an accomplished seventh album by the New York formed trio.

"But its addition is a glimpse of the growth that separates has-beens from steady-goings. The band have come full circle and kept going."- Stylus

"Where one is tempted to put, for example, ‘Neon Bible’ aside and not listen to it again for the next ten years, lest the fairy tale-like magic fade, ‘23’ is a record that demands to be heard again and again, each repeated play unraveling the delicate tapestry of guitar and Makino’s haunting voice, slowly revealing it to be a near-classic of atmosphere and tension."- Gigwise.com

"23 is one of Blonde Redhead’s strongest efforts to date, containing far more in the way of memorable melodies and songwriting subtleties than the band has previously exhibited."- PopMatters

Nr 9- Roisin Murphy- Overpowered

SA — Mon, 17 Dec 2007 01:03:29 GMT

Band: Roisin Murphy Title: Overpowered Best Track: Let Me Know Best Line: “When I think I’m over you, I’m overpowered.”

Trivia: The second album of Roisin Murphy “Let Me Know” was the official first Single of the album Former singer of the band Moloko

Roisin Murphy's second solo album, "Overpowered", has me fascinated. The fragility of her voice and the lyrics- the singles of the album often putting her in a I-can't-get-over-him role- are put to a backdrop of disco-pop. Often mid-paced, sometimes more danceable than others, this album is just a great mix of synth-driven pop tunes and the fragility and intelligence I love about indie. Smart lyrics like "I risk my reputation, just to get a room" are put on an upbeat tune to blend into this delicious mix. Tracks like "Let Me Know", "You Know Me Better", and "Overpowered" are highlights of this album that succeeds to make you dance, but still is able to resonate insecurity and other such emotions.

" ...as a showcase for Rosin Murphy’s talent, Overpowered is an enormous success." - Stylus

"She's funny, clever, heartbreaking, and strident, the kind of disco singer Dusty Springfield never quite had the abandon to become." - Pitchfork

" I hope Ireland doesn't get too offended if Britain comes to its senses and recognises Roisin Murphy as a National Treasure." - The Observer

Added is the song "Overpowered". I wanted to add another song, but can you only add songs that you are able to tag? Because every time I tried to upload "Let Me Know" it failed to do so.

Nr. 10- Goodbooks- Control

SA — Fri, 14 Dec 2007 19:23:36 GMT

Band: Goodbooks Title: Control Best Track: The Last Day Best Line: “So you look into the mirror and it asks you from behind the wall how anyone could find you beautiful, but lets not get too cynical.”

Trivia: Debut album of Goodbooks “Walk With Me” was the first single

The debut album by Goodbooks is one of the hottest debuts of the year. A step away from guitar-driven teen-angst to synth driven literature. Though perhaps sometimes a bit too smart so it sounds contrived, Goodbooks can bank on a couple of up-tempo or middle-tempo dance tunes to put them above most of the other debut albums this year. The clear voice of singer Max resonates throughout the album, aided by synth and guitars. Maybe they have to mix it up a bit more, but these youngsters made a good step with this first, and are my number 10 for this year.

"‘Control’ is a classic in miniature; intoxicating, completely intangible and, for the most part, irresistible." - NME

"Not quite the finished article, but GoodBooks are fumbling towards something fascinating, whereas many of their contemporaries have already arrived somewhere dull"- The Guardian

"It's a triumphant debut from start to finish, showcasing a host of ideas that should see GoodBooks rise to the top of the indie hounds."- Gigwise.com

Track added is "The Last Day"

Matt Berninger Feels It

SA — Thu, 29 Nov 2007 09:44:59 GMT

So I was kind of pissed that we had to leave during the encore because of the last train (and thus in all likelihood missing what I find to be their best song in "About Today"), and that feeling was both worsened and soothed by the overall quality of the gig, which was absolutely amazing.

What adds to that is that the band plays with feeling, and especially that Matt Berninger sings it with so much feeling and emotion, that it really comes across. The poetic lyrics are sung in the way they should be sung.

Matt overscreams "My mind's not right" and "I won't fuck you over, I'm Mr. November", he almost apologetically says "You know I dreamed about you, for twenty-nine years, before I even saw you". Without stumbling he finds a way through the impossible sentence "It's just another uninnocent, elegant fall into the unmagnificent life of adults", and he actually recoils from the mike to sing into open air the last lines of "Daughters of the Soho Riots", not caring one bit if anyone can hear it or not.

Needless to say, he is not an entertainer. He stands there because he loves the music and the music is close to him. At one point he has build up so much emotion that he, off mike, starts to scream, inaudible, but visible.

The rest of the band knows what to do. The violin player darts across the stage with the same poise and vigor that Matt sings with, and the twin brothers do a good job on guitar. The drums never seem to miss a beat.

In a set of nearly 1 1/2 hour, in which they alternate songs from "Alligator", their latest "Boxer", and the EP "Cherry Tree", I have to miss the final part, because people apparently don't realize not everyone going to a gig lives in Amsterdam. Too bad, because it was fantastic. I know at least two people that will be standing at the front when they next play Holland.

Uploaded here is the mp3 of "Daughters of the Soho Riots", one of their calmest songs, but also one of their most beautiful in my opinion, with the heart wrenching line "You must have known I'd do this some day".

I Love the Way You Put Me In The Big House

SA — Wed, 21 Nov 2007 21:41:55 GMT

Dark lights, a picture of wildlife in the background, a ventilator being turned on on the right side of the stage. Moments later, a man from a Tolstoy novel lets the smoke of his cig being carried away by the wind the vent produces.

The clear voice of Paul Banks opens the night, starting with the emotional lines "I felt you so much today, I know you try, you fly straight into my heart". Kessler's elastic legs carry him all over the stage as he produces one line after another vividly. The first third of the gig is absolutely amazing, with almost all my personal favorites being played then like Obstacle 1 and C'Mere (The problem is that you're in love with someone else, it should be me!)

Anyone has water? I'm drained.

After that, for me personally, there is a bit of a lull in the gig, as all my favorites have already been played and even a great Interpol cannot top Interpol at its finest.

Is that a smile on Carlos D? And on Banks? A smile, yeah?

Then Carlos D and Fogarino walk off the stage. Lights go out, Banks lights up a fag which smoke he blows theatrically upwards, clearly visibly on the dark backdrop. Ironic, because isn't a Lighthouse supposed to give light? I don't like it on album, but during the gig its one of the highlights. The first half hypnotic, sensational.

Then a loud bang, bright lights, and the second half of the song starts.

With gusto Banks sneers "How are things on the West Coast?", a song which finds its vigor live. The regular set is ended by an exceptionally beautiful rendition of Not Even Jail.

Then they come back, and I'm mesmerized by the eeriness of The Specialist.

Hypnotized I watch them finish off the gig.

My friend misses her last train home, I miss the last bus in Eindhoven. But who thinks of that when they witnessed this? Fantastic emotional lyrics, great delivery, poise and sense of drama: Interpol shows they are simply one of the top acts around.

Let's Dance to Joy Division

SA — Tue, 20 Nov 2007 02:05:59 GMT

No, not the song by The Wombats.

No, not the actual Joy Division.

But say hello to Dragons. They were the first band I saw at the London Calling festival, and they sound like, well...

You know, I hate comparisons, I hate it when people say "nah, they sound too much like this band or that band", and I've always been the first to say that Editors and Interpol are not knock-offs of Joy Division and are not much like each other.

But Dragons, well...

See for yourself. The gig wasn't bad, it was pretty nice. But at one point I actually thought they were setting in Shadowplay. And without an own face and sound it is hard to really get off as a band.

Anyway, form your own opinion whether or not they have their own sound. I'm inclined to say "no", which is too bad, because musically, it isn't too shabby.

Gig at London Calling: http://3voor12.vpro.nl/speler/ondemand/37775921

Youtube of video of their single "Here are the Roses:

Los Campesinos- Audio and Review

SA — Sun, 18 Nov 2007 02:20:47 GMT

I’ve had bands that gave me goosebumps, I’ve seen bands that made me move, I’ve seen bands that made me sing along, but rarely have I seen a band that actually made me just smile. And not just me, it seemed that the whole room had a smile on their face. Whether it was the enthusiasm of the band, the genuine surprise that people actually knew some of their songs, or simply because they had to squeeze all seven of the band onto that small little stage. Maybe it were the grand gestures of the front man, the shyness of the female vocalist, or the cuteness of the guitarist. Perhaps it are the danceable, happy tunes they played, who knows? One thing is for sure, they won over a lot of souls that night. With “they” being Los Campesinos, a band from Wales.

The band is really young, and the sound is just really fun and gay and danceable, and it does indeed look like a kids playground at times. But try and dissect the songs, and it is really quite astonishing that with so many instruments, from violin to glockenspiel, they somehow can craft those really complex songs that evolve into complete dance monsters. Not only that, they also dare to be different. Opening with a minute long intro to the song that perhaps will grow out to be their anthem, “You! Me! Dancing!” is nothing short of showing some balls, and then the pace that constantly goes up and down, the adding and subtracting of the different instruments during the songs: it shows real musical aptness.

And through all that, the consistent factor is that they just make this lovely, innocent, danceable music you can just lose yourself into and dance to. Not like in a pit, but really, just dancing. It is so strange, because the songs are so happy yet so complex, the singer’s voice is perhaps a bit annoying, and so many strange instruments and sounds, and just the sound of the whole music, and not to mention the little dance they do together at the end of one of their songs: how can you possibly take it all seriously? And yet, you have to, because they are perhaps the freshest, innovative sound out there. Not to mention that the songs are expertly crafted and well put together, and so on the pure musical side they do know what they are doing.

Just go and see them if you have the chance, or listen to the gig at London calling through the link, and make up your own mind. But when you go see them, I can assure you, you will smile. That is something everyone had in common in the small room of Paradiso, everyone was just smiling, including the band as they all clearly enjoyed the gig. And naturally, the frontman jumping in the crowd during one song and singing from the midst of their fans, that always helps.

You might need to copy and paste the links instead of just clicking on them.

The audio of the gig: http://3voor12.vpro.nl/speler/ondemand/37534282

The video of Sweet Dreams, Sweet Cheeks live at London Calling: http://3voor12.vpro.nl/speler/ondemand/37695583

If it isn't working, check my previous post about Blood Red Shoes about programs you want need to download.

Blood Red Shoes at London Calling- Audio + Review

SA — Tue, 13 Nov 2007 20:24:10 GMT

Steven Ansell appears to be a lot easier to find than Waldo. During their gig at Bush Hall he stood right in front of me, and during the London Calling festival he was there both days, and I saw him standing in the hall, in the audience when Los Campesinos was playing, and he and Laura-Mary did a huge soundcheck for the eager crowd who wanted to make sure that they had a place in the small room. That they have to miss Reverend and the Makers for that, well, it is an offer a lot of people are willing to make.

And rightfully so. Though in my opinion they opened a bit more hesitant than at Bush Hall, quickly their cocksureness came back and they played hard, up-tempo, and bloody good.

The crowd picked up on the energy of the two, going bananas in the small room. And it seemed that BRS fed off of that as well, giving so much that at one point Ansell's microphone stand fell off stage (and just next to me), and they ended the set by jumping into the crowd. After a little crowd surf they left a room where the people were collectively buzzing about the gig.

And rightfully so, because BRS are one of the best bands, according to Los Campesinos! the best live band currently in England, that are about to breakthrough. Up-tempo songs with drums and guitar, mixed vocals, and often a recurring line like "How long can you miss someone", "I wish I was someone better", and "bury your head, bare your heart, but I can't I can't I can't I can't." All supported by danceable, can't-get-out-of-your-head drum and guitar lines. The band basically is a debut album away from breaking through.

If my Bush Hall and London Calling reviews of this band, and Anna's recommendation, haven't convinced you yet, copy and paste this link and see for yourself. The first song was cut out (the cameras were too late...) so it misses It's Getting Boring By The Sea, but the rest of the gig is there. Really though, just make sure you get there when they play close to you, because they'll still be doing small rooms and BRS in a small room is a riot waiting to happen.

http://3voor12.vpro.nl/speler/ondemand/37534030

You might need one or a mix of these programs, which are all free to download: Real player: http://www.real.com/freeplayer/?rppr=vpro.nl Flashplayer: http://www.adobe.com/products/flashplayer/

If you are using an Apple Quicktime: http://www.apple.com/nl/quicktime/ Flip4Mac: http://www.flip4mac.com/wmv_download.htm

It's You! It's Me! And It's Dancing

SA — Tue, 06 Nov 2007 13:04:28 GMT

Two times a year, it is time for a festival that for probably quite a group of youngsters is one of the musical highlights of the year. You see a whole lot of young people there knowing almost all the bands and songs, while happily climbing the stage for a little dance and a careful stagedive. And a whole lot of dancing. It is a friendly, gay atmosphere where Alan Donohue of The Rakes dances for minutes with a girl who climbed on stage, where Los Campesinos lead singer suddenly stands in the audience, where both of the Blood Red Shoes stage dived into the audience, where two girls stand on stage kissing during Jack Penate, who deadpanned "And that in an old church, sorry Jesus", where Klaxons appear without having to play: but above all where a lot of great music is played by new, British bands filled with potential.

Best part for you all is probably that 3voor12 was there to record it all, so whenever videos and audio of the gigs are online I will post it here.

I went the second day of the two day festival, seeing Dragons, The Wombats, Prinzehorn Dance School, a bit of Jack Penate, Assembly Now, Blood Red Shoes, a bit of The Rakes, and Los Campesinos. When the audio and video becomes available I will post more in depth gig reviews.

But let me just say what an amazing day. Great atmosphere, great bands full of potential, and that from 20:00 until 02:00. That's a day my friends.

Let me leave this general info with probably the song of the festival, though the highlight was Blood Red Shoes, best and most fun song (and most fun gig) goes to the young lads and girls of Los Campesinos, who were clearly surprised and moved that the audience actually knew a couple of the songs and danced to them. And really, how can you not dance to this. (and yes, that is a 1 minute intro you have to go through, but well worth the wait. ;))

Los Campesinos: You! Me! Dancing!