Kong were great but Chickenhawk were utterly awesome.
You can be wrong DiS, it doesn't really matter that much! Everyone knew at the time it was an awesome record, but even the mother of all poor publications Q left it's review of Be Here Now as a 10/10, just to show they were wrong!
Get the original back on!
it's about the quality of the material.
It's almost impossible to deny that although they had hinted a change was in order, at the time Kid A was a mindfuck purely because no-one expected it to be that different.
Guitars or no guitars it's still brilliant though. They pretty much nailed the formula straight away. The problem for me is the slippery slope after that. In Rainbows almost rescues the slump in form, but there is very little to be redeemed from Amnesiac or Hail to the Thief.
So really it's not about the guitars, it's about the quality of the writing. For me it's Radiohead up to 2000 vs Radiohead after that, and apart from the odd track I can't see much that the latter day 'head have done that comes anywhere near the colossus they were up til then.
that I picked up FHWGS record though said end of year albums lists as it went under my radar, I'm not normally into dancey stuff but this really did the trick.
If anyone really likes him and needs a stopgap, there is the pretty decent also EP he did for the Ice Hotel in Sweden. You can get it on emusic.
big topic pretty well condensed in this article. There's a lot of scope for developing as an artist these days, and also a lot of scope for getting your work heard. However though I like the idea of progression within the music industry, it seems as though we have to accept that with the huge amount of choice comes a bigger amount of desposability.
You only have to think how most people listen to a band for about 20 seconds on myspace to see where this lies. The lack of knowledge of big bands songs at big gigs is quite incredible these days. Have a look at any video on youtube from reading 2000 with the middle order bands (deftones/rage/idlewild) - it's fucking pandemonium. These days you'll be lucky to see a half arsed chin stroke.
I think the reason for this is then it meant more to people, like a "last chance to dance" scenario. These days people seem more bothered about making sure they go to see the right band. I know that isn't exactly linked to the post but I thin it's a visual indicator of how alternative music is perceived and received these days.
How many and which of these do you own?
1. M83 Saturdays=Youth
3. Cut Copy In Ghost Colours
8. Friendly Fires Friendly Fires
15. Crystal Castles Crystal Castles
What might you finally get around to investigating?
A great year for independent and niche music?
Quite literally brilliant.
Too indie? Too electronic? Not enough raaawwwkk?
This year has been permeated by much electronica both in traditional guitar based bands and the rise and rise of more great dance acts.
Early parts of the last 2 decades seem to see a big rise in the number of rawwwwwwwwwwk records. I am disappointed there was not more in that genre this year (only really Fighting with Wire) but I feel that there will be a post Biffy fallout, creating countless new rock bands, who will start peeking up in the early part of the next decade.
I'd still like DiS to cover more rock music generally though if I can add a constructive criticism it would be this
Anything surprise you?
I'll be honest, I had my claws out ready for a backlash but I agree with the top part of the list. I'm surprised M83 and Cut Copy were so high, not because they aren't great records -but it seems sense prevailed in the fact that they are brilliant records, rightly at the peak of the list.
defo top 10 fo sho!
Is a PC on 24/7 downloading stuf any better though?
It is a very valid point that in the future the industry may be all MP3 on an environmental standpoint. It is also worth pointing out that a good chunk of people will use MP3 players anyway, which is just a ripped CD similar to that bought in an online store. I also know a few friends who have modded their hifi systems to stream their computer music from so eventually it will probably become commonplace.
and some interesting thoughts on the industry and music consumption here. I guess the main point I empathise with is the release of a record no longer being a cherished event, as chances are you will have heard it beforehand. I remember the huge mad rush when Muses last album leaked, for people to hear it and form any opinion - within hours of the leak it seemed. That appeared more important to those people than actually sitting down with the thing and listening properly.
compared to the markets have CDs not come down?
I mentioned in another thread that in 1997 it was approx £13 for a new CD out that week. If you take into account wage rises atc, and the fact that now you can easily pick up a new album for £8-9.
I agree on the downloads side, as they often cost more for what in essence is a non-product but one borne out of convenience.
but thinking about it in terms of the general populus he is right. I know many people who have never paid for music, and don't intend to while filesharing is so freely available. Many people now feel that music should be free because they can get their hands on it quite easily from the likes of Mininova.
Traditionally yes music fans like those on this site will use a service like this to get hold of stuff to try before they buy, but its with this in mind that I tend to think "how many people is that really?" I'm guessing not many compared to the amount of freeloaders out there.
The big difference now is because of the speed of broadband people can download a bands back catalogue in an hour. When net speeds were shit people gave up and bought the CD because it might actually be quicker that way!
In either case though I think he put the industries case forward well enough, I'd like to have seen him address the issue you raise there though - those that use it for posiitve means. Could the industry support a model once again of limited try before you buy files etc, that "expire" after 2 listens or something?
My band spent loads on a CD, getting it recorded properly, doing all the artwork, promo and gigging to support it locally. Guess what? It took a lot to get people to fork out for it. Now it might not have been Nevermind, but we were confident that based on positive reaction to the band we could do OK on the project. We have gotten rid of most of the copies, and the first night we sold around 10 CDs but in terms of the financial aspect it was a disaster.
So realistically should we have given it away? In this case I'd say no, I'm still glad we did it this way. We are really proud of the finished product and it's great to think our CDs are dotted around peoples houses, for the most part being listened to.
I'm not suggesting we should be paid handsomly for our efforts, more that we would like to take enough in sales to make another CD. All the money goes back into the band so it's not a case of greed, it's a case of covering the costs by (hopefully) being valued for the work we've done.
Having said all that, the record companies missed out big time when filesharing was on the rise. It could have been nipped in the bud and the culture of "Nada for the Music" could have been diluted or even avoided altogether. I can see why people use the services for legitimate reasons but it has accellerated the disposable MP3 culture of bands and music.
I think it could be an interesting experiment to undertake but as the original guy says, of 500 people downloading random MP3s only a handful will actually take him up and buy music or go to a show. That kinda sums up the accumilation not exploration style of music listening which has developed over the years.
1. No, but when I do I use iTunes and 7Digital.
2. I've cut down the amount I downlond on P2P hugely. I think if somone threatened me with jail then yeah I am going to think twice about downloading as it's not worth the hassle. I can see its advantages but really it should be done on a minimal basis rather than the atittude of many now which is that music should be free.
Its either going to go one or 2 ways, all MP3s will be free with a physical release, or CDs will die out as MP3s will become better in quality.
When the price war kicks in when all 4 majors are DRM free in all stores digital will become a much more viable alternative.
DFA 1979 or Helio Sequence.
I think you could argue equally on the side of both. I'm sure great art has been made by those in poverty and those perhaps a little more well off than the others.
Chances are though most "great" art is made by average joes with a bit of escapism instilled in them. That doesn't require any particularly difficult circumstances, but probably an average job, an average life and a dream.
Sometimes though it's easy to get the impression some artists plead poverty to appear more real. The guy from the Enemy sings songs about having a shit job and having to work all day etc etc. I'm pretty sure that guy is still young enough to not know what the prospect of a career at Grim Towers is like, as he has been propelled fully into the world of rock stardom. What's his next album going to be about?
I quote the Ben of Folds
"Y'all don't know what it's like, being male middle class and white."
When NME started to lose the plot at the end of the 90's I remember being able to judge which negatively reviewed albums I would like as it was obvious they had a strict music policy. In a way now a negative review isn't such a bad thing, but recently on DiS it has been fairly obvious what will get panned and what won't.
Cynicism is all well and good, but I think as long as there's a sense of perspective regarding music and nothing else then it's useful, unfortunately this is pretty rare.
difficult to run a site with more content than space, but DiS has generally been easy to navigate.
1.5 and 3.0 had the best of both worlds in displaying images and enough text to keep abreast of the whole site.
My only gripe with the current version is that it isn't very concise. Let's see what Santa brings tomorrow!
I marked them down to watch but I just didn't see that much to be excited about. Yet whenever I hear the recorded versions of the songs I really do.
sounds quite promising. They weren't very good live when I saw them though. I is confused.
the whole Cut Copy album
as a statemnt of intent. They are the only band who've altered the blueprint of their ilk. Sure it's not the most convincing of finished products but its the sound of a band moving on. Whatever they do I think Kele is probably the one who needs to move his vocals forward the most. He uses similar patterns for almost every song.
Agree with skybluesam prmlscrm can bugger off, The Music are trouncing all over them.
Nail on head. Great potential in this band, looking forward to the album.
the production, but there's enough to elevate this over the Coldplay album for sure.
Also yes they are by far one of the best UK live acts around.
Nice to see a balanced review of something that could easily have gone into "it aint hip and cool so it's shit" territory. They were a good band, they did a few good albums followed by a few bad albums, seems like this one gets them back to what they were good at.
Mister Moustache is brilliant.
Good list, SLTS had to be on there just for it's sigificance in the band/music at the time but I could have taken Lithium out of there quite easily.
I know Servants has a great opener, but I think the line "I tried hard to have a father but instead I had a dad" is brilliant.
As for the Foo Fighters, I want DiS to stick it's neck out and do a Foo's list as well! Go on I dare thee!
This is fucking garbage. Seriosuly if anyone is listening to this in a years time I'll be surprised. It's wishy washy nothing music with no substance to it. They've attempted to hide the fact that the songs arent any good by giving it an arty/wierd production and hoping that blogland fall for it.
Christ all these bands are even using the same handdrawnbutboxy fonts for their artwork, it's boring already!
I'll ave to hope the 7th song is o iTunes or something. Brilliant EP though, though quite what can be re-mastered about it is a bit baffling.
So is this their best record or is the other stuff better? Great sounds.
If it aint Warp it aint worth bothering D&B/electronica wise?
Why is Island in the Sun not on this release? I had high hopes such a great song could have been on 4 albums in a row. Please amend and re-send to me thanks.
Need to hear Married to the Sea. Classics all the way. Best unsigned band right now.
Great album. I actually enjoyed the hip hop interludes. 8/10
But it is. I listened to this loads of times and got no joy. I suppose I immediatley compared it with Felt Mountain, but wheras that album is compelling and quiet this one does slip past your ears easily, and a few of the songs really don't go anywhere. Shame, heres hoping for next time.
it's not a grab you by the balls record, and even being a fan on first listen I was a bit "meh". But like the review mentions WYSIWYG means one thing in Nadaland, that is they write great songs. It's a simple formula and it works, and unless the quality of writing takes a nose dive theres always much to love in their records.
Bthe way I think the production on this one deserves a special mention, it's brilliant :-)
Good article, and it's great that a 3rd generation of people will be exposed to the Manics music.
I'm not with you on Lifeblood but the rest - completely. Lifeblood is a lost classic (bar the Nixon song) and in any re-appraisal should do better.
It's easy to forget that for example Generation Terrorists has never ever sounded in vogue. It was out of step at the time, and it still sounds odd now, but that only serves to show what a statement of intent it was - however flawed it is.
I'll be interested to see if any of the bands below them on the bill at this gig last anywhere near as long, and have as big an impact. Somehow I doubt it.
But I can't figure out why they got Edith Bowman to do the cover shot. Was Alison unavailable or something?
That's a great list. I love almost all those bands on there. It seems not too many great rock acts are breaking through these days as the lighter simpler clackety indie stuff is extremely popular.
My breakthrough acts were Pulp (His n Hers) and the Manics (Holy Bible) and also Oasis too. I'm not as active in seeking out new stuff these days, but when I do find something I truly love I still get the buzz.
Dis are running scared as HMV have got 7 of the DIS list top list in theirs!
gets painful after the 1st song. Repetetive, sub !!! bollocks and severely lacking in any variety/change of pace. Thus album of the year, Good call!
a DiS band these days is more indie than rock I think. Early doors, stuff like Trial of Dead and At The Drive in were staples of the site.
Sometimes the reviewers need to get a hold of whether they're giving something a good score because it's different or if it's actually any good. Likewise, knocking marks off older bands due to their popularity is something that is creeping in slowly but surely.
bobbins about Macabees too! They are just that to be fair, but if people like then so be it.
The Shins album however, is poor and should be in no top 50 lists at all this year. The writing is about a 10th as good as the previous efforts.
Totally disagree with this review. I think when compared with the bands outstanding previous 3 efforts it does perhaps fall short. But to go from that to a 3 just aint happening. It's no classic, but it isn't shit and is easily a 7 for the likes of Dizzy and Always Be, and I think saying the first three songs are average was just for dramatic effect.
Also the bonus stuff is a Universal policy, they do it on 99% of albums. I figured the reviewer might know that. I guess the backlash was always coming, but that's fine, good songs always stand the test of time and trends, and theres enough good stuff here, even if theres not as many as their usual standards suggest.
But I am also musing on the missingness of the ace LPs by Charlotte Hatherley and yourcodenameis;milo
Admittedly it probably falls short of SOADs own standards, but I think the album does move (albeit fleetingly) from friendly SOAD territory.
There's far more of an acoustic/piano thing going on on the less heavy tracks. I think perhaps the overbearing factor in some ways is using SOADs drummer makes it much harder for the heavy stuff to sound different. I know he used Brain on a few tracks also, and i imagine he could have given things a different tone.
Dave Grohl likes Minus The Bear, whatever next!?
I rarely post after a review because 9 times out of 10 they are reasonably accurate or at least thought out. This smacks of (as someone has already mentioned) the reviewer clearly forming an opinion on the record before it, and failing to spot much of the irony in the record. Plus starting the review with the now very very old comparison of old Manics records to new is pretty crap really.
To have listened to James Dean Bradfields delivery of the vocls and to then say he is "going through the motions" is way off the mark, if there is any joy to be sought in the record for the doubters, it is virtually impossible to argue that the vocals are anything other than superb.
Back to school Alex!
There is a live "knob twiddler" by the name of Morgan onstage. He plays some keys on Sarlight et al, and makes all those bloopy noises go by pushing some buttons. And he plays bass on one song.
Circa 1996 I got into music through a mixture on mixtapes, M2 and Lamaq with a splodge of the NME. Since then Lamaq has become Lowe and infinately more dull, my friends dont "do" mixtapes cos it's the naughties you know! and MTV2 is the bastard version of M2, not to mention the crapheap that is the NME these days.
In between all this around 2001 I read a review of Jimmy Eat World's Bleed American which has been lovingly re-mastered here http://www.drownedinsound.com/release/view/2718 and basicly for the first time in ages I bought something on the strength of a review.
Today Jimmy Eat World are one of my all time favourite bands, and since then I have been on Dis on an almost daily basis. The best thing about this site is that I can read a review and from that get a rough idea what a band sounds like. Then if I like the sound of it I will try a website or download something if I can to see if they are for me. The podcast series was particularly good and I'd hope that someday you will find time to put a few more out.
Today a few more of my friends reccomend me music and do me compilation CD's which have opened me up to more new music, but it is getting much harder for me to seek out new stuff that's actually any good. Dis has been the pivotal source for most of what I find out about for about half a decade and I hope it will continue until I'm saying "them Prodigy's were a reet good mellow act back in my day you don't know you're born you scamp!"
Oh I found out about Minus The Bear through a friend, but then came on here almost knowing there'd be glowing reviews of it. Wierd eh?!