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- New music: Marnie Stern – Transparency Is the New Mystery
Marnie Stern knows her way around a fretboard, without the need to drop noodly solos everywhere ...
In 2008 New York's Marnie Stern was voted one of the greatest female guitarists of all time by Venus magazine, in a poll set up to contest the idea that only men know their way around a fretboard. Unlike some of her male counterparts, Stern uses her guitar skills to enhance her songs, rather than ruining them with endless soloing. While her last album had a 31-word title (This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That), her forthcoming third album is eponymous, reflecting a more direct approach in both her songwriting and sound. Transparency Is the New Mystery is the second song to be released online (following the brilliant For Ash) and finds Stern heartbroken and hopeless, wringing every last bit of emotion out of her trusted guitar.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds
Переслать - New music: Magnetic Man – Perfect Stranger feat Katy B (Benga Remix)
As part of their mini-takeover, the dubstep collective provide us with an exclusive remix
Magnetic Man: "We worked on this song for two weeks to get the original version perfect. Then Benga does a remix that's absolutely amazing. I think it's testament to his talent that he can live so closely with a track and then do something completely different with it."guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Music Weekly: Underworld
Hello podders, and welcome to the latest edition of Music Weekly. In today's show, we kick things off with a word in your ear from Underworld's Karl Hyde. The guys are back with a new album, Barking, and Hyde explains to Alexis how Underworld have stayed together through a combination of love and sheer bloody-mindedness. He's also got a few kind words to say about the wonders of Essex.
On Singles Club, Alexis is joined by Rosie Swash and the Observer's Caspar Llewellyn Smith to listen to Seahawk's High Seas Drifter, Zola Jesus's Sea Talk and the recently rereleased Enter the Ninja, by South African "Zeffers" Die Antwoord. Finally, we hear from Ikonika (aka Sara Abdel-Hamid) on being embraced by the dubstep community and why she loves her female fans.
That's all for this week, come and find us on Twitter or Facebook should you so wish. Until next time, enjoy!
Переслать - Magnetic Man: a brief history of dubstep
As part of our day of exclusive Magnetic Man content, Artwork charts the rise of dubstep: 'Dubstep is global, but there are still people round the corner from where I live who don't know what it is. This is my story of where it came from and where it's at.'
Some people might think dubstep is a new phenomenon, but it actually grew out of garage and grime about a decade ago. In Croydon, south London, there was a shop called Big Apple Records that acted as a hub for people into all sorts of bass-led music (sadly, it closed five years ago). I had a recording studio above the shop and started the Big Apple record label with John Kennedy and DJ Hatcha. We were the first label to sign Skream and Benga when they were just 15 years old alongside Digital Mystikz (DMZ), Mala, Coki and Loefah. These artists made some of the first dubstep records.
Around this time Hatcha, who also worked at Big Apple, was championing this sound at a London club night called FWD. We were all making records for Hatcha to spin and meeting in the record shop to discuss the sound we were making. It was a bit like a bass university. And through Benga, Skream, Oris Jay, Plastician, Chef, LB, Kode 9, N Type and Benny Ill, the dubstep sound was brought to life.
We have just finished the festival season with Reading and Leeds. This is unbelievable for us, considering a few years ago you wouldn't get to play those festivals unless you had a guitar in your hand or a set of drums in front of you. It shows how much this music has grown in the past few years that a non "rock'n'roll" band can be accepted at a major rock festival (although it should be pointed out that we continue some of the old rock'n'roll traditions after the shows).
I was speaking to Skream this weekend about how dubstep has gone so far in the past three years – we were wondering if a new style of music has ever spread around the world so rapidly. If you think about drum'n'bass taking off in the 90s, a scene would blow up in one country in one year, then another a year or so later. The internet has changed all that and helped spread dubstep across the world almost instantly. At the same time, dubstep is constantly changing, incorporating different sounds and styles all the time.
The Outlook festival was held in Coatia last weekend, a dubstep event hosting some of the biggest names in the genre from around the world. If you thought you would hear only straight-up dubstep you were in for a surprise. Loefah played Detroit techno, Skream played metal, and Joker mixed it up with some UK funky and house.
I think the fact dubstep artists embrace other genres is a big part of why it's so difficult to define the music. The borders are becoming increasingly blurred between dubstep, grime, drum'n'bass, techno, house, funky ... everything. However, there is one element that links all of these genres together and that is ... BASS.
The music industry has been in the doldrums for a long time with few A&R people willing to take a risk. You get the feeling they are all being told by bosses to "sign us a hit or you're out". This is very short-sighted, and has done a lot of damage to the music on the majors. Luckily, we found a label (Columbia) that didn't ask us to water down our sound. Hopefully, other majors will follow suit and let their A&R teams make choices based on the music they believe in.
There are so many great acts out there, with fresh music deserving the same exposure we are getting at the moment (see below). With the support of more labels like ours, and Radio 1 willing to take risks as they have in supporting us, the remainder of 2010 and 2011 will hopefully be the start of another revolutionary and exciting time in UK music.
Who are Magnetic Man listening to right now?
Skream: "You should be checking out dBridge and Instra:Mental. They're coming up with some amazing stuff right now and dBridge has just done a great remix of our track Perfect Stranger. You should also check out Tensnake – the track Coma Cat goes off!
Artwork: "I'd recommend Kito, she's fantastic – a female producer from Australia who lives in London. She's just been signed to Diplo's label but I think she was signed with Skream first. She has a fantastic sound and she's a brilliant producer.
Benga: I'm going to go for my all-time favourite, Sub Focus. Every single thing he's done to date has been amazing. His mix, riff-wise, everything.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - What's Mani's rant against Peter Hook all about?
Mani's Twitter tirade against the former Joy Division and New Order bassist was a great bit of gossip. But it also reveals growing tensions within the Manchester music scene
When blokey bands descend from pronouncements of fraternal love into public spats, the results are unedifying – and sometimes downright ugly. But you often can't help rubbernecking to get as much of an eyeful as possible. So it was when Gary "Mani" Mounfield of Freebass went on Twitter to launch a vociferous attack on his bandmate Peter Hook, effectively killing off the band.
During a prolonged outburst, Mani tweeted a series of increasingly personal statements attacking Hook's increasing involvement with memorial projects, such as his Evening of Unknown Pleasures spoken word tour, and his decision to perform the music of Joy Division. Here's a selection:
"3 things visible from space, great wall of china, peter hooks wallet stuffed with ian Curtis blood money, man citys empty trophy cabinet!"
"used to adore the man, now he's a self centred sellout reduced to hawking his mates corpse around to get paid. And he can't play"
"either personally or professionally. ever wondered why im universally loved, and another manc ex legend in his own mind is despised by most."
"we were all laughing behind his back watching the stupid wank struggle to do the same old shit he's done for the last 30 years !!"
Of course, the Mancunian supergroup consisted not just of the former Stone Roses and New Order bassists but also ex-Smith Andy Rourke (and singer Gary Briggs of the lesser-known Haven). The prospect of members of three renowned groups coming together caused no end of anticipation among music fans, but sadly Freebass's output spent a rather long time in gestation – five years, in fact, although their debut album, It's a Beautiful Life, is finally due on 20 September.
Rourke quit the band earlier this year and moved to New York, and this appears to have influenced Mani's decision to leave the group, which commentators – including controversial Manchester bloggers Fuc51 – have accused of being a vanity project.
However, the manner in which Mani has gone about flaming his bandmate is so strident you wonder exactly what went on. Acrimony doesn't begin to cover the level of hatred Mani expresses for Hook, and the public nature of the disagreement has shocked many. There has been a debate going for some time now within Manchester about the fascination with the city's musical past, which some argue is at the expense of current bands including Everything Everything, Egyptian Hip Hop and Delphic. Seeking to disassociate himself from such retrograde nostalgia, the former Stone Roses bassist also tweeted: "i've actually got an ongoing career, so I don't feel the need to exploit my past glories. I exist in the here and the now !!!"
It's understood that Mani has now returned to begin rehearsals with Bobby Gillespie and Primal Scream. Today Freebass' management responded to the comments posted on Mani's Twitter page in a highly diplomatic manner, releasing an official statement announcing the dissolution of the band: "Recent events have made Freebass entirely unviable as a band and with this in mind, it has been decided that the project should be shelved, rather than placed on hiatus while members pursue their other interests."
Apparently aware of a potential backlash, Mani seems to have retracted some of his vitrol: "Everything is ok. I shouldn't air my laundry in public. Meltdown time. I need to give this game up, I can't trust nobody any more."
But if anything, that only makes us more curious as to what really went down.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Readers recommend: songs inspired by poems
Now that our birthday celebrations are over, we'd like you to suggest songs that prove rhyme definitely pays
This fifth anniversary is turning into a celebration of P Diddy-esque proportions. Into its second week and still going strong, you can find in today's paper (that's Friday) a nice package of column by me and five years' worth of RR stats from Marconius. If you haven't bought one yet and are able to, allow me to highly recommend it.
Now, last week's thread turned out to be a toughie but I enjoyed reading the reminiscences and, also, the musings of Abahachi and others on the nature of anniversaries (something I attempt to reference in this week's col).
Here is a link to the column but, more importantly, here's the A-list: On a Wedding Anniversary – John Cale; Happy, happy birthday baby – the Tune Weavers; Happy Birthday – The Birthday Party; Unhappy Birthday – The Smiths; 4th of July – The Beach Boys; 45 – Elvis Costello; Franco – Sept ans de mariage; The Very Best – Birthday; Lee Perry – Happy Birthday Jamaica Version; Sarah Vaughan – 100 years from Today.
Following that list is another, colloquially known as "the B-list". However, I'm afraid the pressures of time mean I'm unable to expand on my choices, suffice to say that I was amused by John Eddy, swayed by Billy Bragg, entranced by Eddie Boyd's mellifluous piano work and having a little bit of a rave to the Junior Boys.
Anniversary Song – Django Reinhardt
40 – John Eddy
St Swithin's Day – Billy Bragg
The Applicant – The Blue Aeroplanes
Five Long Years – Eddie Boyd
Tears of Rage – The Band
2080 – Yeasayer
Thanksgiving – Mary Gauthier
Birthday – Junior Boys
Two Sevens Clash – Culture
On to this week's theme. It's another toughie, in that I don't imagine there's an endless supply of poetry-inspired songs and it's not exactly open to subjective interpretation; it's either inspired by poetry or not. But I do think it's an interesting area to explore and may prompt us into looking at how a musician interprets someone else's art, what effect is achieved by adding music to verse and such like. I promise to do something a bit dumber next week.
The toolbox: Archive, the Marconium, the Spill, the Collabo (which, oddly, worked for me last week in that I saw all your songs).
The rulebook:
DO post your nominations before midday on Monday if you wish them to be considered.
DO post justifications of your choices wherever possible.
DO NOT post more than one-third of the lyrics of any song.
DO NOT dump lists of nominations – if you must post more than two or three at once, please attempt to justify your choices.
Finally, let's treat each other like it's our birthdays
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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