sean

I think you'll find we haven't really bigged up Dizzee Rascal to any extent, except for refeaturing our review of him when he won the Mercury Music Prize. Just so that it didn't go unnoticed our opinion of the record.

It's easy to poke and moan and create false history.

pedant.
i wasn't saying that at all. and you probably know it.
it's so easy to accuse people of being rascist when they make a simple slip when making an example.
then again, it's not that different me saying that, than pop idiots called Turin Brakes a rock band.

We're constantly trying to encourage more people, with specialism of various genres to get involved in our site. The trouble is, because of the nature of the content already up, people don't take our requests seriously and people don't approach us. Chickens and Eggs.

I personally think the 50 Cent record is utter toss and more overhyped (by the indie world in particular) than the Strokes. He's up there with Sean Paul as the most utterly confusing success story of the year - fair enough if they were personalities or had any of the musical suss of Jay-Z, The Roots or even the aforementioned Outkast.

As for the talk about not writing about all the elements of the scene that someone like Dizzee Rascal, for instance, has risen from, I do think we would if we could. But there'd be no point sending our contributors/volunteers who're into hardcore or post-rock along to a 'garage' gig/night and then have them write an utterly uninformed (uninspired) piece.

It does piss me off that people are much much quicker to criticise than they are to get involved and change things. Mail me if you think you can readdress the balance and sort out our problems...

them there aol ads are an attempt to cover some of the costs involved running the site. you're right that no-one gets paid and your feedback about the quality of writing on this site is something we're addressing at the moment.

i think careless talk mk2 will be really interesting...

"Having said that, its certainly sparked a fair old debate... "

And therein lies the point of the news story and the music community we've built. Just wanted people to think twice about the charts. It really confuses me the point of some of these mainstream media charts... what good do they do? who do they represent? does anyone really care? isn't the point of all this musicial specialism to point people in some slightly left of centre directions?

pedant

You're also Joe Wisbey, aren't you?

the way i see it, is that 'popular' records have compromised enough and watered the bits of human emotion down enough that they touch a lot of people. if you're a music journalist, it means you're a hardcore music fan and you live and breathe for music. you write about music because you talk about it so much to people who don't care what you're going on about that you just have to write about. surely these kindsa people 'should' be the kindsa people writing for Q? Whose favourite album of the year isn't gonna be the same as my mums?

The fact 'think tank' is one of the shoddiest and most annoying blur albums of all time (and i'm a fan) and that 50 Cents record is in there because so much as been spent on it that it will become some kind of success (not in the world of REM, U2, Radiohead, etc, who you'd associate with Q), then yes, this list of records does disgust me somewhat. It's like the token blackman that middle-class white british society so often likes to talk about...

Me either. That's what annoys me. All these people, all this money, all these ruddy compromises... you'd have thought someone with some vision and balls could put something decent together. When I got involved in Bang before it launched it truly sounded like it was going to be something interesting, but obviously the suits messed it up....

When's all said and done, there's such a small ammount of proper music fans around (i.e. not the hundreds of thousands who used to buy nme, melody maker...) that something has to be done to remedy this, making things exciting again... i think 2004 is going to be a really exciting year to reshape and reform... there's been some interesting records/bands getting acclaim in the past year or so and i think some sparks have ignited in some interesting heads... what do need is a proper entertainer and performer, praps not too dissimilar to bowie or justin hawkins, but whose got the right message and imagination to carry it through...

Ah c'mon, they've put 50 Cent in there and it's REALLY not a great album. The media have taken him under their wing as this years token rap-for-white-boyz record (see also: Warren G, Dr.Dre, Snoop Dogg, Boyz II Men, etc...) and when a bunch of journo's sit down and think "what's had the most spent on it this year and therefore sold quite well..." and what they come back with is a bunch of records that have had billboard if not tv ads. Like I said, it's incredibly safe, and yes, we should expect that as it's obviously a good way for Q to say to their target market "this is who we are, we are you..." and all that malarkey, but I'm just not buying it.

As hoped, this news story has sparked some interesting debate.

See, Magnet, that's the kinda record Q should be championing to their readers, who'll already have bought one of those top 10 'available in woolworths and wh smiths' type releases. And Cat Power, and Rufus Wainwright and M.Ward and Bonnie Prince Billie and Ryan Adams... these may not be all my favourite records of this year, but they're sure as hell a lot less obvious and predictable and safe 'recommendations' (because let's be honest, charts are just an easy way to recommend and sum up, what a bunch of good records there are - and especially when it's compiled by so called music journalists, who're meant to know more about what's going on in the world than the average jools holland viewer)

Am still confused why The Mars Volta album went in at three. Really isn't that great an album - but guess they wanna try to suck in some nu-prog readers...

Media reporting about Media, that's all news is anymore...

Bizarely, since reviewing this record, i don't think i've listened to it again. Think seeing them at venues bigger than the barfly is the main problem, really not that good...

I've heard that it only takes about 100 complaints to get the TV Watchdogs to investigate the quality of a tv programme. If DiS readers were to complain about

- 'artistes' miming
- the large volumes of american artistes OR the lack of support for british culture.
- the lack of representation of independant record labels OR the bbc pandering to the needs of marketing for corporations OR the shows lack of benefit to the british economy
- the patronising tone
- the lack of pop knowledge and skill of the presenter
- the fact the BBC doesn't provide any entertainment for people between the ages of 16 and 25 (unless you're into gardening, cookery or sit coms about 40year old families)
- the short-lived time in which Jools Holland is on tv
- the BBC's definition of 'pop' being extremely out of touch with what historically is 'pop' OR their inability to keep up with trends
- the choice of successful british acts who're only available to people with digital tv (for people who can already see these acts on digital tv services such as mtv2, scuzz, amp, etc...)
- the inappropriate sexual gesturing of young girls
- when did entertainment become publicly funded advotainment? why doesn't the bbc show pop 'personalities'?
- when was the last time TOTP had a video premiere?

I'm sure there are many more points which will be raised over the next few days worth articulating our disgust about inorder for the BBC to change their practises.

Send your complaints about the poor quality of the BBCs (major label american acts) pop show to:

THE BROADCASTING STANDARDS COMMISSION,
The Sanctuary,
London SW1P 3JS
http://www.bsc.org.uk/stanindex.htm

POINTS OF VIEW
http://www.bbc.co.uk/pov/
pov@bbc.co.uk

sounds like an idea i had just t'other day... :)

and cus tis very easy to get to london gigs from... i remember span did the biffy tour down there, so it aint like they're totally ignoring the place.

most of the time it's scheduling and what local venues can offer, etc... if you keep supporting the local promoters they can afford to put on shows...

when "AF" (andy future) says 'we' he means, him and his virtual festivals website.

er, virtualfestivals are giving away free cds, i'm not too sure how that is selling out. we've just pointed people in the direction of the cd.
nuff nonsense.

When I finally find my copy of the Murder Of a review will be forthcoming. It's in my top 10 records of the year, easily.

Are you saying 'proper music' should be reserved for highly intellectual 16 year old greenday fans?

I think what you mean is that Busted are entertainers, as well as musicians. And you mean that because they've played games with popworld and not, say, I dunno, refused to do interviews because that's 'selling out'.

How would you feel if you found out Busted's second album sounded like Me First and the Gimme Gimme's? Or if you discovered they believe they're a shift to the left for popworld, not the biggest one, but a part of opening peoples eyes to a different world?

Punk Rock, nowadays, is all about eltism and cock-measurements. And before that, it was all about clothes and spitting. Punk Rock is a blind movement, filled with more assholes than any other scene. If a band were truly punk today they'd be putting themselves into a position of strength and then abusing that position to saturate the mainstream with inspirational messages - and i aint saying that band is Busted, but in principle, if you don't wanna see venues close, indie labels fold and tours being cancelled due to poor ticket sales, you have to look at a band like Busted as creating the next generation of people who're actually into, excited about and defined by music because it's been too long since there were enough people for it to make sense.

Odd how Busted can get us talking about Nofx.

Sean (Nofx fan at 16, now 21)

Could Good Charlotte sell out three nights at Wembley? Busted can and tour the rest of the country. Madness. Great tho, this what we need, just think what these kids will be listening to in three years!

...And now for a music industry that's completely different, fuelled by intelligent and creative working practises, which people throughout the world can sense the humanity and magic that goes into making and selling music as historical cultural documents (i.e. not just those lumps of plastic for 99p-£15.99)

In the shadows, brave things are happening....

DiScuss: What was the last truly exciting thing to happen in the corporate music world? What was the last event to burn a significant mark in the history books? Spicemania? 'Song 2'? 'Creep'?

We did run nights in Cardiff but it was hard to get the right headliners. Next year we'll be running a bi-monthly tour of Barfly venues, which means we'll be reinstated in Cardiff. ROCK!

I can confirm 100% The Koreans will be playing Islington Academy this Wednesday as part of this tour. Word.

We've got a list just for folks in London to find out about DiS gigs. Join @ http://www.drownedinsound.com/cgi-bin/mojo/mojo.cgi?flavor=archive&id=20031116130246&list=dislondon

Can't tell you the truth, as i don't know, but The Koreans have been added to the Islington Academy bill on Wednesday. Rock. And DiS will be giving away tickets this week.

punk? PUNK? Define punk for me please, as I'm utterly baffled.
Million Dead are not one of my favourite bands.
Reuben really need to get the album out, I cant make my mind up about this new single.... I want that "and the word on everyone's lips, is oxygen" song released.

we did infact quiz the rinser about this spelling and he said it was a new spelling...

won't corporations/labels work out how to use this to their advantage and it become some kinda crazy spam-like thang?
i.e. 50,000 people at reading festival get spammed by emi to check out their new garage rock band in the new bands tent? or is that just too clever?

sounds like soho every night of the week.
isn't the point of a flashmob that it isn't advertised?

i'm gonna stick my neck out and say it's one of the most daring pop records to grace the mainstream this year, if not for quite some time.
it's hardly a down the middle pop song.

i don't wanna go on and on about this, but... karmacops played a dis show and several members of staff really liked them. only one person did the review, else we'd have five people doing reviews of the same gig... if it was only one persons opinion then things get quashed around here, occasionally.
tho just imagine if no-one listened to peter and raz about the darkness and funeral for a friend...

that was back in the day when certain people who liked a band, managed to write a lot of articles, about a band that perhaps no-one else at the site had even heard. things have changed now. we've tightened up a bit and try to keep things in control and in proportion,

presents...

YOUTHMOVIE SOUNDTRACK STRATEGIES
...epic. mangled. post-prog. our big hopes for '04.
BLOC PARTY
...a hint of detroit, a wallop of british pop anthems.
REAGAN
...pop with guitars'n'keyboard
PLUS: *SPECIAL GUESTS TBA*
DiS Xmas Party. Weds December 17th. 8pm-2am.
@ The Barfly. Camden.

JETPLANE LANDING
...draw to a close their 60+ date uk tour.
JARCREW
...welsh dance-punk mentalists... the best live band in the UK?
FICKLE PUBLIC
...scot pop-rock, without the pomp, once known as Purple Munkie
Tues December 9th. 8pm.
@ The Metro. W1

SEACHANGE
...new Matador signings hit london as part of their DiS-sponsored UK tour, mangling bits of Sonic Youth like Trail of Dead and gracing indie with violins like Idlewild.
THE CRIBS
...Essex lads on Wichita last seen touring the with The Sleepy Jackson.
REDJETSON
...Like Mogwai playing Joy Division, but not.
Mon 24th November. 7pm. £5
@ The Spitz, E1.

In ass. with lastbandstanding.com
MEANWHILE, BACK IN COMMUNIST RUSSIA...
...meat loaf inspired post-rock, with lush boards of canada glitches.
COME LITTLE DOG
...members of Souvaris
Mon 17th November. £5
@ Islington Bar Academy, N1.

More info, reviews and news @ Drownedinsound.com

and i dont think we've ever talked up the dawn parade. they always were shit (giving wrong directions or no wrong directions!)

married to. see previous news story on dis.

praps it's just my taste changing, but i thought the Bluetones really should have quit whilst they were ahead. Ditto Purresscence, Supernaturals, Cosmic Rough Riders, Stereo MC's........

M83 @ 93 FEET EAST Tue 11 Nov

Doors / 7.30pm
Fancy / 8.00pm
Garlic / 8.30pm
Pedro / 9.15pm
M83 / 10 - 11pm

i hear they aint doing so well in the singles chart.

how come? why so?

FROM: sadeline@yahoogroups.com
i got this from a few people. hope to see you there:

i should let you know about the memorial rock show we
are organizing which is set for the night of monday november third at the henry fonda theater in los angeles.

it is going to be a benefit concert for

the Elliott Smith Foundation For Abused Children

where various musician friends of Elliott's play his songs and pay hommage to him. It's twenty bucks and the money will go to the foundation

so far slated to play are

Grandaddy, Bright Eyes, Radar Bros., Beck, Rilo Kiley, Future Pigeon, Beth Orton, Earlimart + more to follow

there will also be a screening of Strange Parallel

I removed it as it was insensitive and Seymour agreed. So it was removed.

"if you're gonna say shit now..."

when a promoter wants to promote gigs everyday, as a living, then there are compromises and fine lines.
gigs are very hard to make money from and yes, it doesn't make sense to promote gigs as your sole income, however, if people weren't prepared to put themselves on the line and earn (frankly) buggerall, there would not be upto 5 gigs a week in many towns and cities across this country.
there does need to be some kind of subsidy for promoters, as they're part of the backbone of culture in this country. or, alternatively, they promote less gigs, and fewer bands worth taking a risk on and the venues end up closing and bands have nowhere to play outside of their hometown and london, and people don't have any gigs locally, mtv wins, indie labels fold, and a generation is lost to sport or drugs or pop.
promoting gigs doesn't have to be about losing money. its more a case of bands losing out a bit to be able to play to people (who, enevitably, will buy records, t-shirts and/or future gig tickets, hopefully) and everyone else involved breaking even. and if there is money made, it's shared out to cover expenses.

sean

Apologies, I thought the "Romeo and Juliet style" comment alluded the same kind of imagery which Elliott was famed for and it wouldn't surprise me if he didn't choose the best statement he could find to kill himself with.

SOURCE: http://www.mtv.com/news/articles/1479869/10222003/smith_elliott.jhtml?headlines=true

Folk-punk singer/songwriter Elliott Smith has died of an apparent suicide, according to the Los Angeles County Department of the Coroner's office. Smith's body was found in his apartment, in the Silverlake section of Los Angeles, by a female friend, who took him to a local hospital at approximately 12:18 p.m. on Tuesday.

He was pronounced dead at Los Angeles County University of Southern California Medical Center just over an hour later. He was 34.

A single knife wound that appeared to be self-inflicted was evident on the body, though police detectives are investigating the incident for foul play and/or other possibilities. No other details were available at press time.

Smith (real name Steven Paul Smith) had battled drug and alcohol addition throughout his career. His first two albums, 1994's Roman Candle and the next year's self-titled LP for Olympia, Washington's Kill Rock Stars label, intimated these subjects with haunting, sparsely recorded acoustic songs such as "Needle in the Hay" that drew comparisons to 1960s singer/songwriter Nick Drake and Simon and Garfunkel. He reportedly cleaned up midway through his career, but the problem was believed to have escalated in recent years due to a reclusive nature and sporadic public performances.

A cornerstone of the indie-rock scene in Portland, Oregon, in the mid-1990s, Smith gained critical acclaim with 1997's Either/Or and 1998's XO, albums that best demonstrated his ability to delicately deliver poetic, emotional lyrics and beautifully dark, lush pop melodies. "Miss Misery," his contribution to the film "Good Will Hunting" that earned him an Academy Award nomination in 1997, brought mainstream recognition to the artist regarded as a figurehead of the indie-rock underground, and influenced such artists as Bright Eyes and Dashboard Confessional.

Born August 6, 1969 in Omaha, Nebraska, Smith grew up near Dallas and took an interest in music at age 9, and began writing and recording original compositions as a teenager. He moved to Portland in high school, where he played in a local band, before attending Hampshire College in Amherst, Massachusetts.

Returning to Portland, he formed the alternative-rock quartet Heatmiser with future Quasi member Sam Coomes. The band released three albums and disbanded after hitting its creative stride with 1996's Mic City Sons.

While still a member of Heatmiser, Smith retreated to his basement to focus on more intimate material in vast contrast to Heatmiser's heavier sound. Roman Candle, on which he played all the instruments, was recorded on a four-track and epitomized the lo-fi DIY aesthetic while showcasing Smith's talent to craft emotive song structures that emphasized the dark themes of his lyrics.

The promise of a great songwriter was furthered on Smith's self-titled album. While keeping with an overall melancholy vibe, he concentrated on beautifying the melodies. The songs floated like lullabies, though the lyrics could disrupt sleep for weeks.

Smith continued to play all the instruments on 1997's Either/Or, while focusing on the arrangements. Dramatic constructions combine with Smith's eerily potent stripped-down fare for the album that cemented his role in the indie-folk pantheon. At the time of the LP's release, filmmaker and Portland native Gus Van Sant used Smith's music for the soundtrack to "Good Will Hunting." Smith performed "Miss Misery," which was nominated for Best Original Song, at the Academy Awards show in April 1998. The Oscar went to Celine Dion's "My Heart Will Go On," from "Titanic," though simply being nominated helped his subsequent LP, 1998's XO, become Smith's best-selling album.

XO and his final album, 2000's Figure 8, both released on major-label DreamWorks Records, were marked by lush textures and acoustic melodies inspired by the Beach Boys' Brian Wilson and latter-day Beatles, that brimmed with a sunny brilliance, but still retained Smith's keen commentaries and forlorn sentiments. He had been working on a follow-up album, From a Basement on the Hill, at the time of his death (see "Elliott Smith Flying Solo On Next LP, But It Won't Sound Like It").

The limited-edition 7-inch single "Pretty (Ugly Before)" was released in August on Seattle indie Suicide Squeeze Records, and the previously unreleased songs "Splittsville" and the instrumental "Snowbunny's Serenade" appear in the film "Southlander: Diary of a Desperate Musician," directed by Silverlake resident Steve Hanft, who's helmed videos for Beck. After limited theatrical showings, the movie was released on DVD October 7.

In June, Smith performed on the second stage of the Field Day festival in East Rutherford, New Jersey, which was headlined by the Beastie Boys, Radiohead, and Blur. A brief tour of the U.S. followed. He was scheduled to perform at the All Tomorrow's Parties festival in Los Angeles on November 9.



—Joe D'Angelo, with additional reporting by Ryan J. Downey and Rod Perez

If a girl can't make you hard, you got a problem... ah, them ancient greeks knew how to crack a filthy joke.

SOURCE: http://www.pitchforkmedia.com/news/03-10/22.shtml

Elliott Smith has died at age 34, according to an obituary posted late Tuesday on Sweet Adeline, Smith's official website. Rumors had been circulating on the Internet all day about Smith's apparent suicide; by early evening, the overwhelming traffic from well-wishers and fans was crashing Sweet Adeline's discussion board. A handful of posts indicated that representatives from Smith's label, Dreamworks, were attempting to contact Charlie Ramirez, the webmaster for Sweet Adeline.

Within hours, Ramirez posted the following: "As you probably realize, I'm pretty devastated about having to say goodbye to Elliott... it's never easy to put into words what someone means to you... Elliott was such a lovely man... I will always have his love, kindness, intelligence, humbleness, creativeness, greatness and so much more in me forever because that's what he was and i'll always love him for being who he was... I'll miss you so much. We will all miss you. See you in heaven, Elliott."

Smith had been working on his sixth studio album, From A Basement On The Hill, since late 2001. At various points, the self-recorded album was being shopped to indie labels and later, tentatively scheduled as a double-disc offering on DreamWorks' 2003 schedule.

Last November, Smith was reportedly involved in a scuffle with Los Angeles county sheriffs at a Flaming Lips show. Smith retained the services of an attorney in the matter, and had publicly sought witnesses to the incident on Sweet Adeline. Smith reportedly claimed his hand was injured in the fracas, causing the cancellation of at least one planned show this spring. But this wasn't the first time Smith had cancelled a show because of pain in his arm. A February 2002 London concert was postponed after Smith had flown all the way across the Atlantic-- claiming he'd slept on the arm during the flight. In May 2002, Smith flubbed more than half of his planned setlist at a Chicago show, again claiming difficulties with an uncooperative hand.

Smith's continued difficulty with live performances and the multiple delays with Basement-- including claims that Smith disappeared for days and couldn't be found-- led many to speculate that the singer might be using heroin or other hard drugs. Smith had written very candidly about past drug use in his songwriting, most notably in the 1995 track "The White Lady Loves You More." In January, Smith even played a benefit show for a free needle exchange aimed at preventing the spread of AIDS and hepatitis among intravenous drug users. Smith's new songs deal frankly and obsessively with drug use and suicide: a quick perusal of the Basement song titles alone yields the now-poignant "Memory Lane," "Strung Out Again," "Let's Get Lost," "Shooting Star," "A Distorted Reality Is Now A Necessity To Be Free" and "Fond Farewell."

I last saw Elliott Smith at the Henry Fonda Theater in Los Angeles nine months ago, a birthday gift from my girlfriend. Out of all the live shows I've ever witnessed-- and I've witnessed a lot-- I've never left a show feeling more uneasy and concerned for the well-being of the artist performing. Smith's live sets have always been hit-or-miss; in particular, his live gigs from the past couple of years have often been marred by forgotten lyrics, butterfingers on his own florid guitar parts, and so on. But on this night, Smith performed beautifully-- mostly unaccompanied on acoustic guitar, but also with some spare drumming and backup vocals on a few songs.

It was his between-songs banter, fractured and urgent, that really fostered my concern. Smith couldn't have asked for any better-- a sold-out, shoulder-to-shoulder crowd, focused intently on the frail and inarticulate figure center stage. "My heart's weak because, like, uh..." Smith started at one point, trailing off in mid-sentence before launching into the obscure single "No Confidence Man." As soon as the song began, Smith became erudite, focused, passionate. Between songs, he stuttered and aborted sentences mid-thought, as if utterly unable to communicate without his music.

Smith was scheduled to play the Los Angeles-area incarnation of this year's All Tomorrow's Parties in November. As previously reported, Smith released the single "Pretty (Ugly Before)" as a limited-edition seven-inch on Suicide Squeeze in August; the single was expected to serve as a teaser for the forthcoming album. In June, Smith was awarded a "Best Rock/Pop Songwriter/Composer" award from the alternative paper LA Weekly.

Like me, Smith grew up in Dallas, TX and was physically and emotionally tormented by insensitive schoolmates before moving west. Smith went to high school in Portland, OR and attended college in Massachusetts. In 1992, Smith formed Heatmiser with bandmates Neil Gust, Tony Lash, and later Sam Coomes. Heatmiser released three albums and an EP, but it was Smith's self-recorded 1994 effort Roman Candle that drew attention to Smith's spare, confessional songwriting and innovative guitar work. After Heatmiser disbanded in 1996, Smith's solo career took off-- eventually landing the singer several songs on the soundtrack to Gus Van Sant's 1997 film Good Will Hunting, including the Oscar-nominated "Miss Misery."

Smith signed with Dreamworks in 1998, quickly serving up the baroque XO and ambitious Figure 8, backing both releases up with extensive full-band tours. Last year, Smith enlisted Flaming Lips manager Scott Booker to manage his career and shop around Basement. In the last ten months, Smith had played acoustic sets extensively across the U.S., including stops in Los Angeles, New York, Austin, Philly, and Hoboken. Smith's last public performance was at the University of Utah's Redfest festival last month in Salt Lake City.

.: Sweet Adeline: http://www.sweetadeline.net
.: Elliottsmith.com: http://www.elliottsmith.com
.: Dreamworks: http://www.dreamworksrecords.com

Steven Paul (Elliott) Smith. August 6, 1969 – October 21, 2003.
Elliott Smith was born on August 6, 1969 in Omaha, Nebraska. Elliott
spent his childhood near Dallas, Texas where he began his musical
training at the age of nine, winning a local award for original
composition at the age of ten.

Elliott relocated to Portland, Oregon as a Sophomore at Lincoln High
School where he was achieved the rank of National Merit Scholar.
During his time at Lincoln High School, Elliott joined the
band "Stranger Than Fiction" in which he composed music and
performed until his graduation in 1987.

Elliott later attended Hampshire College in Amherst, Massachusetts,
where he majored in Philosophy and Political Science. During his
time at Hampshire, Elliott, known then as Elliott Stillwater Rotter,
co-founded the band "A Murder of Crows". He later became a member of
well know band "Heatmiser". It was during this time that Elliott
began to release music as a solo artist.

During his lifetime, Elliott released five full-length albums as a
solo artist as well as a number of singles. Elliott was nominated
for an Academy Award for "Miss Misery", his musical contribution to
the Academy Award winning movie, "Good Will Hunting".


At the time of his death, Elliott was recording his sixth
album, "From A Basement on the Hill".


Elliott is survived by a host of family, friends and fans.

Oh shut up you insensitive 'tard and do one.

All other posts like this will be censorsed. If you wanna act like senseless juveniles, do it some places else or better still, shove 55 melons up your arse.

I really can't believe this. I'm not sure if I've even taken it in properly. Elliott's music has got me through a lot of things recently. His songs have such an acheing angelic quality that so few things I've ever heard have had. I'm so upset that i'll never get to see him play.

At least in death, he will be a legend and it'll make people realise how fragile life is and that if you wanna be touched by other human beings, you shouldnt faff around.

Back to trying to find out the how's and why's he died. Tho I'm pretty sure its either going to be drug or maybe tragic accident related.

Sean
Editor, Drowned in Sound