I meant that I'm NOT the sort, etc.
It sometimes stinks of the old indie-schmindie bit. But this chap has nailed it about Hurts - they are absolute careerist conmen. Nothing wrong with attempting to write 'pop songs' as such - the whole synth-pop genre was about updating the classic 60s pop song with electronics - but you can smell the bullshit with these fellas by way of the lyrics, which are actually worse than the reviewer makes out. Neil Tennant scored countless big hits with interesting and humourous lyrics that could have come from the likes of Morrissey, Suggs, Cocker, et al. Why couldn't these guys? I don't believe it's a question of inability, more a question of having a will to be as safe and conservative as possible.
And I'm the sort who will overlook a song just because of a poor lyric. The first two Hurts singles were excellent enough (words aside) for me to get their first record. The rest of it just sounded like Gary Barlow and Coldplay fucking around with synthesisers in an expensive studio.
and refreshingly honest.
It's not just the music of Rossiter that's been missed, it's his personality. If people like him were still in bands now, the NME would be worth reading.
He comes across as being a nice guy actually.
The Dali's Car story is quite saddening to read in a way, but it was good that they got this EP done. I'd recommend their album; it was absolutely hated at the time but it's aged really well IMO, and doesn't sound like anything before or since.
Let's not forget that, more so than billions of 60s garage records, 'Dark Entries' provided the template for the entire first Horrors album. Many people actually did, but it was fairly obvious.
Bauhaus were unfairly derided back in the day, partly because of the arty pretensions, and partly because, in an age of 'serious' post-punks donning grey overcoats, the 'goth' look hadn't yet been invented and prancing about in virtual drag was soooo uncool.
Musically, the combination of glam, dub, funk, metal, punk and psychedelia was streets ahead of people like Gang of Four, who did one or two things, but did them very well. Bauhaus's experimentation was sometimes to their detriment, as some songs (particularly 90% of the B-Sides) did sound very much like a load of ideas chucked at the same spot of wall. But these things age well. In the musicians, you had some virtuosos in Kevin Haskins and David J (probably a much better bassist than the similarly-styled but far more celebrated likes of Hooky and Gallup), as well as a true innovator of guitar in Daniel Ash (the atmospherics of his guitar playing got passed down and developed throughout the following years and genres of 'alternative' rock, for sure. Shoegazers and post rockers owe him a fair debt, certainly, not to mention a lot of the late 90s/early 00s metallers).
I saw them in 2006 and was blown away, even though the once gorgeous Pete Murphy showed his age physically. But he didn't seem to be an awful lot less energetic, which was what his live presence was all about, rather than just poncing around in leggings.
Anyway, fantastic reviews.
But would most agree that, if you want to be an albums band, a band that is in it for the sake of art, rather than a quick-buck-major-label-1-album-a-few-front-covers-promptly-disappear sort of band, then the way to go is signing with an indie who will (admittedly on a tight budget) let you develop and make albums without the worry of being dropped.
That way, if you 'catch on' at some stage, then you can sign with someone bigger; but at least you've been allowed to mature and will have a decent body of work behind you.
but what is he wearing?
and I say that as a big Cure fan (this is about the umpteenth they've had, although I have to say that it looks the most interesting).
but good review all the same.
is 2 years old either. Happy birthday.
and it's a nice reminder of a good album.
I may even forgive Everett True for calling Suede (my teenhood favourite band) 'karaoke Bowie' back in the 90s.
I fucking hope it will though.
Glasvegas get a lot of stick when they are in fact very, very good.
Also looking forward to the album.
Debut albums by hyped up bands are often a bit of a disappointment but I still cannae wait.
Big sound, big songs.
Can't imagine that cover though.
"It's political correctness gone mad!"
End of the day, regardless of the race issue (which very obviously was an issue), Old Turnip Lydon and/or his pathetic gang of monkeys injured Kele through violence, which makes them cunts.
them at Ally Pally - thought the performance was pretty good but that venue sucks out any soul or atmosphere you normally expect from gigs.
I agree with the reviewer about OLTA though - I thought some of it was brilliant but some of it was dull, all in all a fairly patchy work.
That's no age to go, is it?
but a good song is a good song and one thing they can do is write good songs.
I know songwriting and song structures are totally boring and terribly old fashioned, but at least they're not another Arctics/Libertines/Enemy/View etc type band.
bands are good.
Why are they abysmal?
Barringtone on Thursday, I really enjoyed them.
I shall go and get Glasvegas at lunch.
in work, can't see it.
not one for the chin strokers mind, but a fucking great band.
what I meant.
and stop me.
enjoyed that, even if it came across as an excuse to slag off some forgotten hack from years back.
was less a review, more an insightful article.
can't hope to win, for the reasons that the manager pointed out.
I love Kraftwerk but this is pathetic.
in my opinion but it's just not my cup of tea.
Neither is the interviewing style here. It's plainly kicking somebody when they're down. Will anybody remember this lot in 3 years? No. So I don't really think it's fair to do a 'DiSband' on them.
The one that DID work was the Hadouken! one because the interviewer wasn't snide, they were just asking honest questions, and Hadouken! are the sort of band that were crying out for this sort of feature.
Not the sodding Subways. Can you imagine how depressing their next tour will be for them as well?
depressing article, all in all. It's good that they're so honest about it though, I didn't expect them to divulge quite so many details.
It depends of course on how welcoming the community is. But you make a very, very valid point.
band supported them in February. They were really nice blokes and the music sounded good, although it's not really my thing. I think their honesty here needs applause and I'm interested to find out what happens to them next.
I was a kid I used to suffer it all the fucking time, especially at school. Thankfully, I was friends with a couple of lads who sympathised (see post about lockers):
2nd encore was brilliant! But not if you don't like Lovecats etc, I guess.
I thought 65 sounded pretty damn good to be honest.
was there and it was great. Bit harsh on 65days but right about The Cure.
agree to be honest. Not a great album but there are a few brilliant tunes.
The ones that work for me are the ones that sound like their really early stuff.
It's funny because I myself have been revisiting various late 90s records and bands that I haven't touched for virtually 8 years. Some of which I daren't mention, as it goes. I will put my hands up and admit to Mansun and the Lo-Fi Allstars though.
'because frankly, The Cure were pretty damn patchy up till then themselves.'
'jostling around inconsequentially for position like special needs kids during a rigged bout of musical chairs.'
I can't decide if that's really brilliant or really wrong.