NME Radar Tour 2010

The NME Radar tour, each year we have a renewed sense of optimism with regard to new music and this has been displayed through many ceremonies celebrated in the early months of this year (Phillip Hall Radar, Sound of 2010 and if it counts the Brits/labels critics choice), so on the back of this comes tours hence this blog looking at the upcoming NME Radar Tour that was announced this week.

The bands in question are HURTS, Everything Everything and Darwin Deez. A slice of renaissance Manchester mixed in with some New York hippy chic. I must say I feel this selection of bands merits a unusual hats off to the NME, a tour that given its name REALLY salutes new music.

First up we have HURTS formed by Theo Hutchcraft and Adam Anderson late last year, looking at them they look more at home on the front cover of Harpers Bizzare or a French romantic 60's film directed by a very young Anton Corbjin, but the look they have crafted shouldnt put you off the music. As previously mentioned in the Sound of blog think Pet Shop Boys meets Joy Division especially with Arthur Bakers great remix of their first single 'Wonderful Life' and the original song itself adding further claims to this comparison. Having only played their first ever gig a couple of weeks back in London it will be interesting to see what Mr Hutchcraft and Mr Anderson show us on this very opportunistic tour but judging by the moody electro pop sounds, the cheap (their first video only cost £20) yet moving music videos (helps having an Edie Sedgewick character dancing around) and the styled out italian look, this is a group that could be a big influence in the year 2010.

Next up on the Manchester scene is Everything Everything, another pick in the BBC's sound of 2010 (wonder if that'll become more viable IF 6 Music goes and were left with Fearne Cotton pluggin these bands, makes me shiverrrrr), having released limited edition single My Keys Your Boyfriend, I can't help the feeling this band although producing some catchy hook ridden songs are not the right choice to pick up the indie scene where at the moment its as stale as the job market here in the UK. It will be interesting to see them live and with a New Orderesque sound maybe I could get caught hopping, but I'm guessing that I wont be.

When Creaky Boards got on Chris Martin and co's back regarding a song they did which quite honestly resembled Viva La Vida, who would have thought that a part-time member of the band would go on to have medium of early success but thats exactly what your looking at with Darwin Deez. Hailing from Brooklyn, New York I actually dont know if thats the band name or his name but I do know that he waits tables in restaurants while working with the aforementioned band. Catchy first single Constellations was probably the first song of this year which caught my interest, lo-fi guitar/keyboard sounds, Casablancas vocals and an all round happy tune which although has the first line "Twinkle twinkle little star, how I wonder what you are", carries on to have a broad sense of literature. I can probably confirm this band like all bands on the tour will not a mass a grand following but especially with Deez I can sense a more cult following, he is after all got the strangest hair I've ever seen and if you look at his clique you feel they look they raided C&A before its demise and just got their clothes in a particular fashionable mess. This band along with HURTS are the 2 out of the 3 I'm most looking forward to seeing, I feel maybe Mr Deez should give Gordon Raphael a ring have a notepad and pen ready and start taking tips.

The tour kicks off in Glasgow on April 26th and calls at :-

Preston 53 Degrees (27th)

Manchester Academy (28th)

Stoke Sugarmill (30th)

Middlesbrough Uni (May 2nd)

Oxford Academy 2 (4th)

Bristol Thelka (5th)

Wrexham Central Station (6th)

York Duchess (8th)

Portsmouth Wedgewood (9th)

London KOKO (10th)

Norwich Waterfront (11th)

Northampton Roadmender (12th)

6 Music - A necessity in the role of British Music.

"Less is more" "To focus on quality programming" "We want to do less better". The frequent buzz sentences I have heard on the T.V and the Internet this week from the lovable Director General Mark Thompson. First off let me introduce 6 Music, in a world where people crave the £££ hence why you dont find this kind of station on commercial giants such as Global and Bauer, 6 Music provides insightful broadcasting by its DJ's and identifiable music that wouldnt be played elsewhere because its not "popular".

Where else can I join the Black Squadron as I wake up on a Saturday morning (not for the meantime COME BACK ADAM and JOE!), hear such funny piss takes out of skins, great music sessions, insightful musical musings by Laverne during the week, Craig Charles bringing us Funk and Soul, Nemone's voice that gets me everytime and yes although everybody hates the man (and i do understand why with what 6 Music stands for) listening to George Lamb and Marc Hughes
bantering away but at the same time playing great music that in my eyes is very unique.

BUT! hold the phone a niche BOMBSHELL has struck at the BBC, to be more economically efficient it seems that the big wigs at the BBC want to get rid of such a station that serves as a great memory to a man who dedicated his life to music John Peel.

Now having studied Business at University (lord I wish I hadn't) from a commercial prospective although still wrong I can understand a need to lose a station with a niche market, what with advertising etc (sorry people thats just the way business is sometimes), but what I can't get my head around is that the BBC is a PUBLIC SERVICE BROADCASTER and with such programmes doesnt need to focus on ratings and listeners numbers nearly as much as a commercial broadcaster and i've had this answer come from Mark Thompson on Newsnight and Helen Boaden who came to Lincoln to give a talk (when i questioned her about it), IT DOESNT MAKE SENSE.

Another scenario which strikes me as odd is the cost of 6 Music compared to other stations at the BBC. In 2009 the BBC spent £9 million on 6 Music, this compared to £115 million on BBC Three which although at times can be entertaining surely the Beeb could cut costs on such pointless programmes like Date my Daughter, Snog? Marry? Avoid? Young Butcher of the year or the ever magnificent I believe in UFO's by Danny Dyer, is this really what people want to see, I call this a social experiment in humiliation by all acounts.

£3.4 Billion and 6 Music costs £9 million to run (thats a tenth of Mark Thompsons enourmous salary), its not exactly an economic nightmare having 6 Music which brings new music to the masses and brings hope to new bands/artists who's music would never see the light of day on Radio 1 or even 'slippers on' Radio 2, can we honestly say that music broadcasters on the more 'popular' stations would give La Roux, Florence and the Machine and Ellie Goulding (although she has been sucked into the machine) the light of day without 6 Music pushing it right from the start.

Lets hope the many protests which have developed (much praise to the Morters) spark a change with the directors which leads them to reverse this appauling decision. On a final note Beeb dont fear the absolute biscuits that are the Murdochs or a potential new government, maybe look into presenter salaries especially those who's shows are now pre-recorded aka watered down for harassing old men, or presenters who create such art like Car Park Catchphrase, have a good look BBC have a good long look.

P.S Listened to a song by Caribou today called Odessa on Lauren Laverne's mid morning show, I wonder if Scott Mills would play that inbetween pranking a Scottish pizza parlour, hmmmmm quality broadcasting.

Sounds of 2010, Scepticism or Optimism

The list that the BBC publishes each year, that gives music listeners the chance to revel in the most exciting acts of 2010, from what I see its either the chance to be sceptical or have a belief that this year will bring another music sensation that were come into our music players like a whirlwind.


I can understand both arguements, much like 2009 we saw some highs and lows, areas of innovation and in RETROspect areas of regurgitated synth pop but with artists wearing Camden Locks finest glittery outfits. From 2009 we had Little Boots who to be fair had her fair share of success but it seems to follow the same lineage, 6 music rave about it (as they ALWAYS find music first), Radio 1 grab hold of the poppiest single and play endlessly for a month, commercial stations pick it up and love it, festivals and gig dates insue......But is there any longevity? I cant see Little Boots releasing an inspiring second album thats BECAUSE we have a NEW!! sounds of the year in. Is ELLIE GOULDING now to follow that same path, her album Lights was released on Monday and already the daggers are out in some musical circles, with so much hype is there anywhere else to go but down.

Personally I believe Ellie Goulding along with her frequent collaborater Starsmith have created an ok album, mixing folk with electronica, radio friendly tunes that seem quite personal, in that respect her album will most probably be a success but I get the distinct impression a potential second album will have major label interests/influence which means £££ and if successful no chance to diversify.

Another act I felt should have been given more limelight and they havent (probably because they only started gigging 1 week ago at Wilton Hall Church of all places in London), is HURTS a Manchester duo who's songs smack of pet shop boys giving Ian Curtis some synth lessons on how to create upbeat yet atmospheric love songs, and with the recent announcement of the NME Radar tour, this band are definately a shout for making an impact along with the highly spiritual Darwin Deez.

In the end I cant help but remain cynical of the winners of sound of 20..... being influenced by major label big wigs who sense that they can make a few extra pounds, but not lets hope the winner can make a lasting impression to us all and not fade away like so many hyped artists/bands do.

Next topic

Are the Mobo awards relevant anymore?

Music and Politics

I feel compelled to write about this considering just reading the news on Madonna rearing her wrinkly head in going to Eastern Europe (ever been there before Madonna???) and preach to Romanian residents at a concert that they’ve probably paid a lot of Leu (Romanian currency) for to be told you are prejudice against Romanian Gypsy’s (or Roma people), what right does she have to do this, play your songs and get the extortionate amount of money you get paid to do and lets be honest if it wasn’t for a line of ‘in’ producers and collaborators you’d still be using really bad synth lines talking about holidays.

Not withstanding the abuse of Roma people is wrong in many contexts not just in Romania but also in Eastern Europe, but isn’t this the problem of a nation and its people and not some pop act who calls it upon herself to get involved (even if you musicians are Roma people, lets just say there’s always a PR spin on that account). Long introduction I know but politics, most people hate the word yet many musicians feel it necessary to fight a cause they have no say and if anything boosts careers once it hits a plateau of endless riffs, choruses and never ending sell out concerts.

Case studies please…. The pioneer of Bob Geldof (ever heard of Midge Urie hmmmm?) and his famous ‘give us your money (I’m actually adopting an Irish accent when writing this), in July of 1985, this from a joke of a star who wrote famously about not liking Mondays (good thing this was on a Saturday). Not to give the impression that the intentions aren’t good, of course they are, but to think that high attendance levels and music will change things is very naïve at best.

Live 8 concert 2 July 2005, a special spectacle in which it showed stars care about the 3rd world, to raise awareness of the G8 summit, a summit in which to all purposes is an informal meeting between nations to discuss world issues, how can musicians shape the way these meetings are held, I doubt through Razorlight singing Golden Touch or Snoop Dogg rapping through his back catalogue (but it was good seeing Pink Floyd reunite), the point is again that Music and Politics should be parallel in their intentions, to raise awareness to influence is definitely a good thing but when do we draw the line.

Now to the fans who these artists are trying to influence, I would ask how many of them who got picked to go to Live 8 wanted to see The Who or wanted to see awareness issues of Civil unrest in Rwanda and The Congo, I think publicly we would get the first but privately I feel a different answer lays. To get the full picture its not about showing disturbing images in front of a mass audience, its trying to understand these issues, these nations in Africa, Central Asia and South America, the lack of infrastructure, civil unrest, dictatorship (some may call communism) and trade deals with developed countries, these are the issues people need to understand not giving £3 a month because people have seen a harrowing image on the T.V screen, once a nation has an understanding then maybe it can help, but to have Bono go on about the struggles while he’s a millionaire doesn’t speak to those people of intelligence.

A new breed of stars have got on the case like Bono, Chris Martin to name a few and others who practice philanthropy (which will no doubt end up with a cause to save the world), but with politics comes difficulties, a difficulty which these ‘stars’ don’t understand and are ultimately contradicting by living such extravagant millionaire lifestyles, when you see Bono ask him to govern a country with political ties or give his millions away?? Tone it down stars, tone it down, your message is not without merit but attempting mass artistic fortitude makes you seem like your going to far.

Current listen – Beak: Iron Action (Geoff Barrow)

Further a field

I feel limiting blogs to music is not going to happen so from now on this blog will encompass all things that are on my mind, mainly business, music and politics.

Hip-hop, Society........and The Entrepreneur

Hip hop, Society and….. The Entrepreneur

For reasons unknown (a famous song in a entirely different context) but for now we shall use it for this title, the reason for the said title is the plethora of difference between what we associate with hip-hop, society and business (for this instance we’ll use the entrepreneur) since the republican ramshackles of Bush and Reagan(nomics) and present day liberalisation which has seen public angst against prejudice turn into a popularity contest on MTV on who shall reach number 1 (less we forget over sampled beats).

Parties on all sides have noted the vulgarity of which hip-hop has been cited, lyrics at a time were seen to be merely provocative and merely suggestive has turned into being blatant and overly obscene in my opinion. To use a quote ‘Music videos have become machismo fairy tales that have more "ogre and ass" scenes than the Shrek trilogy’. But the problem is for what demographic (which in all intents and purposes are not supposed to purchase ‘read the extreme lyrics tab in black and white) are picking up the latest album by what we call today’s hip-hop stars.

Now I’m no person supporting a cause for anything (that’ll be judged by the 22 people that will brush across this and form an opinion, lets just say not enough for a revolution….or a pay cheque for that matter!), but I look back to hip-hop in the 80’s and early 90’s especially in the USA where a new spark was being lit, music that had been underground since the black panther movement was starting to surface, to this we look at the revelation of N.W.A, Grandmaster flash, Public Enemy, Rakim, early producers like Marley Mal and for business the ‘Don’ shall we say that was and still is Russell Simmons and co-founder and uber producer Rick Rubin.

Now with this we had a message that spread the problems in inner city America (and lets be honest not the most clean cut of lyrics) but it gave people a voice not just of problems but also opportunity in a society for people

Now that being looked at we have heard a voice and people (I say people not to typecast an overriding sense to a particular race). This voice being heard gave power, new opportunity and a new sense of hope and posterity to new voices wanting to spread this message.

I say this but looking at hip-hop nowadays watching Chris Rock who in one of his comedy shows stated that ‘Women don’t give a fuck about the song, as long as the beat is good, she’s gonna dance!’ (then went on to give his version of such a song, something along the lines of something in ears and eyes), but this although funny statement does bring about the sense of what hip-hop means to people nowadays and what it means to artists.

‘I’m reporting from the streets’ is the common argument for hip-hop artists these days and it appears it always has been but I get more and more critical when reporting from the streets gives credence to a continuous stream of pointless lyrics that pertain to a diamond necklace, a Bentley, a lady’s ass or how she gave good felacio last night.

Now this is not a problem for me(my opinion SHALL BE HEARD! In this Google blogger!), for the millions of dollars companies are willing to pay and media which strives for a celebrity story it seems the norm nowadays, but from what hip hop was about to what it is now it’s a sad indictment of what is means to people.

The power used to be with the artist also, this new sense of excitement gave a wheel to the entrepreneur, lets talk Suge Knight at Deathrow Records (granted a very power hungry individual who had since paid his dues), Damon Dash, Shawn Carter and Kareem ‘Biggs’ Burke who started Roca-a-Fella records in 1996, Irv Gotti with Murder Inc Records, Master P with No Limit Records, with many more artists getting their share of power (all of which started in the early to mid 90’s).

This doesn’t happen anymore and its quite sad that the message being spread is not one of being smart, being entrepreneurial and mixing this with talent, but with artists these days I feel its basically you’ve got one or the other not all 3, what started off with artists having all 3 has been blinded by media spotlight giving a sense of one or the other to an artist and never all three.

For this we can call upon the greed of record labels, the greed of the artists, the greed of the media to have a story…..or we can look at a foundation that began as a movement and gave people a voice being lost in the wind, can we get this back? Who knows but with hip-hop at the moment the same message which has been spread (be interesting to see what you think that is) since the dawn of high media interest, as many artists say ‘we don’t give a fuck’, well maybe you should and ask yourself what your genre used to represent.

P.S The first ever hip-hop song I listened to properly was Deep Cover in 1991 by Dr Dre and his young mentor Snoop Doggy Dogg.