no wonder the rude kid from the inbetweeners bums him so much
he's a child. sure, his music is shit and i hope i never have to hear that fucking lightning bolt abomination again as long as i live, but i don't think i can quite blame him for shooting off at the mouth about stuff he doesn't really know about yet. i think in even five years' time he's going to be so so embarrassed at some of the crap he's said. it's nme/guardian/whatever else lauding him like he's the second coming when if he's the second coming of anything he's the second coming of fucking cast.
i was definitely a child when i was 18, i knew absolutely fuck all and thought i knew everything in the world. these days i still know next to fuck all but at least i know that i know next to fuck all.
i am so confused that anyone under about 40 even gives this guy's music the time of day, but he's big with the teenagers as far as i can tell. why? fucksake! why are you listening to stuff that your mum thinks is "nice"? ugh.
that is acceptable
really picked up steam at the end there
It's not the world's most interesting interview, is it?
thus entirely devaluing the saving music one proper authentic tune/proper haircut at a time.
he definitely used to, maybe some of the stuff on the album is co-written but at least half of it is his own.
Or that's what Wikipedia says.
are all the needy Northerners in the comments arguing whether or not Nottingham is in 'The North'.
There's a guy with a sign behind his desk here talking about how fucking great Yorkshire is. Go back if it's so fucking great or just take it down and grow the fuck up.
There's nothing wrong with being fond of where you were brought up and extolling its virtues. But people act like BNP nationalists sometimes.
that nearly 50 years since Dylan went electric, there are STILL people who genuinely believe that solo acoustic singer-songwriters are still more authentic than any other type of musician. It's like rock/punk/electronica/hip-hop/house/techno/baggy/grunge/jungle/dubstep never 'appened.
There are clearly a bunch of creepy suited guys pushing him down this road of slagging off what isn't nme-cool, and whoever's doing the interview obviously wants him to say some bollocks like this.
If he refers to his songs as *tunes* though I'm assuming he's some sub-Weller/Gallagher/Brown nobhead
he's as much of a product and as constructed as what he purported to stand against. he's sold some records, but so what? it's just so boring, and so irrelevant and utterly removed from everything going in music in this country. they're the paper that brand themselves as being "owned by nobody" and as far as I can tell most of their cultural coverage is pretty good and certainly digs deeper than most of the other broadsheets, so why are they giving coverage to this tedious major label product?
Silly, misjudged, ignorant snobbery, really.
He was gigging from 16, playing his own songs, then got picked up by a major label. If you think that puts him on a par with Liberty X then, well...you're a bit of a scrotum.
regardless of his 'pedigree' (such as it may be), he's trotting out the same tired horse about POSH PEOPLE and REAL MUSIC that The Enemy did five years ago, and the Gallaghers five years before that. not that I can blame him - it's a tried and tested formula and it's clearly working out for him, but don't mistake it for being anything other than a marketing strategy at core.
plus, he uses professional co-writers. he admits and then tries to gloss over it in that interview.
(plus, Liberty X? finger on the pulse, grandad!)
Thing is, most of us would say that X-Factor's shite and the charts are bolloks, but when some young lad or band say it publically it always, without fail leads to absolute fucking cretins giving it the "hahaha, LAD" spiel.
Don't really understand the issue with co-writers. I know he played most of the standout tracks of his album live well before he was signed. Others having input to a few other track afterwards seems the natural step. Music's littered with artists having co-written hits, even lots of credible ones.
What this boils down to, as i know, and you know, is you, and others equating something being popular with something being bad, and/or something not being pretentious with something being LADish or nondescript.
He's the one banging the authenticity drum, and he's the one happy to gloss over that he/his team hired an award-winning songwriter to polish up what he'd written. Check the wiki page up there - 75% of the record is co-credited to a guy that used to be in Snow Patrol.
As I said in my very first post, it's nothing to do with popularity. It's to do with him being incredibly dull and my inability to understand why the Guardian are giving him column space rather than a million other musicians in this country, when most of their arts coverage is pretty good.