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- Audio advent calendar: Domino's Christmas party playlist
3 December: Your tailor-made alternative Christmas party playlist, courtesy of Domino Records
It's day three of our selection of festive treats from the people at Domino and Warp Records. And by now you're probably thinking about what to play at your own Christmas parties. Well have no fear, for Domino has created its own alternative playlist for those whose heads might explode if they hear Slade one more time. Here's what the peeps at the label had to say about the adominoparty playlist.
"Now that December has rolled around it's officially the season for people to pretend Christmas is all about wholesome family fun, when in reality for most of us it's that time of the year when we probably drink too much, dance to naff music we'd never usually listen to and generally make fools of ourselves in front of co-workers.
To usher in the festivities Domino has compiled a party playlist consisting entirely of tracks made by Domino artists, so if you find yourself at a house party and feel like you want to avoid banging out Last Christmas again and again, now you have the option to do so."The adominoparty playlist in full
1. Warriors by Malachai
2. All Around and Away We Go by Twin Sister
3. Chunk by Archie Bronson Outfit
4. Tomorrow - DFA Remix - by Clinic
5. Cavern by Liquid Liquid
6. Blue Boy by Orange Juice
7. Truck Train Tractor by the Pastels
8. Joni by Correcto
9. After Dark (feat. Mystery Jets) by Count & Sinden
10. Gilt Complex by Sons & Daughters
11. Sex Bomb by Flipper
12. Hot Cake by the Fall
13. Codes by Jason Lowenstien
14. Michael by Franz Ferdinand
15. Club Action by Yo Majesty
16. Fuck The People by the Kills
17. Fucked Up by Yo Majesty
18. Brianstorm by Arctic Monkeys
19. Marina Gasolina by Bonde Do Role
20. Fledermaus Can't Get It by Von Sudenfed
21. What's Your Damage (Braixe/Falke Remix) by Test Iciclesguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Why Olde English Spelling Bee is creating a buzz
It's been a great year for a label that releases cutting-edge music by artists with one foot in the past
This year has seen Olde English Spelling Bee go from a peripheral concern to one of the most consistent and clearly defined labels in underground music. You could say the imprint has "levelled-up", an appropriate turn of phrase given its artists' fascination with cultural detritus such as forgotten video games.As with all intelligently curated labels, OESB acts have a definite "house style" despite covering a broad range of music. A sense of feeling one step removed from the now, seemingly brought on by nostalgia, narcotics or spirituality, is shared by much of the (predominantly lo-fi) roster; but that sense manifests itself as much in the creepy, drunken R&B of Autre Ne Veut as the guitar grooves of Rangers, and the skanking post-rock of Forest Swords. There's also a strong visual style, focusing on chewed videotape, Day-Glo colours and new age vistas.
"I approach the label like an art gallery," explains OESB owner Todd Ledford. "They might have a bunch of different artists they represent, but any good art gallery will have a consistent thread among them all. I'm working with a lot of people who aren't driven, they're not trying to be pop stars, they're making music for themselves and their friends," he says. "For some of these people it's a sound journal. A lot of my records have a loner vibe; they're made in solitude, the magic happens for them at three or four in the morning. They have this burst of inspiration and put it on tape. And, of course, it's going to be lo-fi if it's four-track or eight-track, but you can't always bottle up those moments of inspiration and take them into a studio and replicate them. It's like when photographs sometimes look better when they're faded – if you find a Polaroid that's been lying in the street and run over a few times, it gives it character, grit. For a lot of people tape has more character – there's hiss, there's dropouts, there's something to it."
Much of the label's roster has been tagged with the "hypnagogic pop" label coined by David Keenan to describe music that harks back to a half-remembered 80s. "I feel like Keenan was completely on to something," Ledford says. "A lot of experimental artists started embracing this 80s pop aesthetic and incorporating it into their work, and I really think that YouTube has a lot to do with it. Like Rangers, his music sounds like you're listening to Steely Dan or Rush on YouTube, going through all these filters that are reducing the [sound] quality."
OESB is ending its year on a high with Bamboo for Two by Monopoly Child Star Searchers, a stunning, clattering mess of percussion and tinny meandering melodies; and Trilogy Select, a compilation of Vangelis-esque tracks from Stellar OM Source. The label has is now home to Sam Mehran, formerly of Test Icicles, with his Outer Limits Recordings and Matrix Metals projects ("He was using an eight-track recorder held together with paperclips," says Ledford). And in James Ferraro's Last American Hero they've released one of the best records of the year, an utterly modern take on desert blues.
In this age of pop tribalism, for a label to accurately harness a strain of collective thought is a real and valuable achievement. And it shows no sign of letting up. "I used to put out four or five records a year; now it's four or five a month," says Ledford, who's planning on issuing his first non-vinyl releases in the new year, along with a set of improv clarinet and viola by Patrick Holmes and Dylan Willemsa, recorded by NY underground legend Lary Seven. "I'm right here in the middle of the storm," he says, "and I'm not sure where the storm is headed."
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Music Weekly: Warpaint and the Hundred in the Hands
We kick off this week's Music Weekly with current buzz band Warpaint. The group's Theresa Wayman and Emily Kokal joined Rosie in the studio to discuss their fondness for Los Angeles and why it took them so long to make their debut album, The Fool.
In Singles Club, Rosie (your host this week as Alexis Petridis was snowed in down in Brighton) is joined by Tim Jonze and Will Dean to cast their ears over Manic Street Preachers' Some Kind of Nothingness, Adele's Someone Like You and Anna Calvi's Love Won't Be Leaving.
And finally, before the bad weather did for him, Alexis bumped heads with Eleanore Everdell and Jason Friedman of New York band the Hundreds in the Hands. The three of them talked intellectual references, which makes a change from beer and football.
And that's your lot. We'll be back next week, of course, in the meantime you can find us on Twitter and Facebook. Let us know what you thought of this week's show in the space below.
Переслать - Have Take That mastered the art of meaningless epic pop?
As boybands return to the charts, it's clear that the DAMPE is rising (that's Deep And Meaningless Pop Epic). So how long before One Direction grow beards and get serious?
There comes a time in every boyband's life when they must put away childish things. Childish things such as upbeat, danceable tunes, shaving razors, and lyrics with a recognisable narrative. Instead, they enter the unquestionably adult world of power ballads, facial hair, and lyrics that are little more than strings of vague, pseudo-profound metaphors. That is when they reach for the Deep And Meaningless Pop Epic.
Every good boyband must eventually perform one, and currently ensconced in the top 10 is a classic example of the DAMPE genre – Take That's vaguely triumphant, vaguely uplifting, utterly indecipherable The Flood. We join them "Standing on the edge of forever, at the start of whatever, shouting love at the world", and then learn that they used to be "cavemen" who beamed at the moon and stars then "forgave them". Which sounds like they've recently been freed from a secure mental health facility rather than premature retirement. More of the same portentous hot air follows: when "thunder turns around" they are "learning how to dance the rain". No, us neither, but of course, big, booming anthems like as this can quite happily succeed solely on the back of buzzwords. Noel Gallagher built a career on such soaring gibberish.
Take That managed the same trick on The Garden (a good portion of all DAMPE song titles include the definite article) from their last album, and although Barlow & co are at an age where such a "mature" approach befits them, it's an age-old pop formula. Indeed, the two boybands who dominated UK pop after Take That's initial split in 1996 both produced textbook examples of the genre. Consider, if you will, Boyzone's philosophical treatise A Different Beat.
"Let's not forget this place," they sang. "Let's not neglect our race. Let unity become, life on Earth be one. So let me take your hand, we are but grains of sand, born through the winds of time, given a special sign." Add an instant-gravitas faux-African choir and some military drumming to decorate their creamy crooning, and you have DAMPE gold.
Their spiritual offspring, Westlife, then took up the same flaming torch with The Rose. "Some say love it is a river that drowns the tender reed," they began, and once they'd thrown in mentions of "flower", "soul", "winter", "dance" and a "road" that is "long", stopped shaving for a few days and made a video in black and white, they could hardly fail.
These songs are invariably ballads, but East 17, as you might expect, were a touch more edgy on Let It Rain: "Make it rough like a chainsaw," rapped Tony Mortimer. "Inject a beat, eat meat like carnivore. Trumpets sound and wrath pours down. Angels dance to the new groove in town." That's right, Tony.
You could date the genesis of the DAMPE back to the days when the Beatles were flexing their intellectual muscles and lesser acolytes were trying desperately to be taken equally seriously (we're duty bound to mention Dave, Dee Dozy, Beaky Mick & Tich's Legend of Xanadu), but the genre had an Indian summer of popularity during the early 80s, when the po-faced pseudery of the new romantics was informing some magnificently pretentious British pop.
And occasionally, they had the style to back up their bluster. Duran Duran accompanied their best tunes with unmitigated nonsense, resulting in Save a Prayer being among the finest DAMPEs ever recorded. With its faintly mystic pan pipe-style motif, and video featuring the band gazing longingly out to an ocean sunset, Save a Prayer pretty much nailed down the DAMPE blueprint.
"Feel the breeze deep on the inside," yearned Simon Le Bon. "Look you down into the well, if you can, you'll see the world in all his fire." Displaying a random-weather-metaphor-generator approach to words that is another DAMPE hallmark, he went on to promise he would "try to hold the rising floods that fill my skin".
Elsewhere, Spandau Ballet were churning out equally silly pop symphonies (remember Musclebound?), and the solo stars were at it too. You may recall Howard Jones's Hide and Seek, or Nik Kershaw's The Riddle. Perhaps you even entered the competition that Kershaw's record label launched to interpret his song's mystical references to "seasons of gasoline and gold". This was without the author's knowledge, by the way, and Kershaw later admitted the lyrics were "nonsense, rubbish, bollocks, the confused ramblings of an 80s pop star". Say it ain't so, Nick.
At least he's part of a noble tradition. You can surely suggest your own nominees for the relatively exclusive but timeless DAMPE canon. Once you've learned to dance in the rain, that is.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - New music: Those Dancing Days – Fuckarias
The world's cutest band have discovered guitar riffs and naughty words. We applaud them
Two years ago it would have been inconceivable for Swedish quintet Those Dancing Days to have released a single with a swear word in the title. Not that ladies don't swear of course – we've heard Nicki Minaj's album – but their 2008 debut, In Our Space Hero Suits, was so twee it made Belle and Sebastian sound like Slayer. Still, the band have just announced their second album, Daydreams and Nightmares, which has been produced by Robyn collaborator Patrik Berger. Fuckarias opens with big guitar riffs, pounding drums and a frenetic, blood-pumping-through-the-veins energy that was lacking from their debut.
You can download Fuckarias for free from here. Daydreams and Nightmares is out on 7 March via Wichita Recordingsguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Readers recommend: songs about mistakes
Last time was about the cut and thrust of heated discourse. Now we're after songs that hold their hands up to getting it wrong
Hello each and every one of you. What a week it's been. If you're thinking, "Hang on, didn't we already do songs about arguments?", then award yourself an extra mark because, yes, we did. Forgive me. But taking even the briefest look at this week's responses will have convinced any doubters that there are many songs we never even touched on before. Pop music loves nothing more than a good fight, eh?
Consequently, in the two lists there are as many moments of boiling anger, as there are quiet questions about betrayal and deceit. There are arguments between lovers, families, friends, every bugger's at it, and every bugger thinks the other person is behaving more unreasonably than they are and, therefore, their argument is fundamentally flawed. Human beings are clever like that.
Anyway, the A-list was a fight in itself but it ended up looking like this: The Argument – Ike and Tina Turner; Night of the 4th of May – Al Stewart; I Luv U – Dizzee Rascal; Why – The Byrds; She Said, She Said – The Beatles; Alone in the Make-Out Room – The Broken Family Band; Wasted Words – The Allman Brothers; Explanations – Gil Scott-Heron; Silent Treatment – The Roots; Gerry Rafferty – Whatever's Written in Your Heart.
As far as the B-list, well, here we go:
Family Life – Sham 69
"You bladdy get upstairs and get a wawsh …" Mum argues with son. Son writes a song about his muvver arguing with him all the time. "It's better than getting chucked out," they reason, "it's better than being alone." Well, it is, isn't it?
Dance Music – The Mountain Goats
John Darnielle remembers only too well when, aged 5 ("or 6, maybe") his stepfather starts shouting at his mother and "launches a glass" right at her head and he ran to his room to put on a record to drown out the noise. And that record was, well, "dance music".
The Memory of a Wife – Millie Jackson
Ms Jackson sees an old boyfriend. He tries to pretend he's on top form, she lays into him, describing how his "thing" is "as ragged as a bowl of sauerkraut", while his new love, "done lost her job". Jackson trusts, "you didn't tell her about our love-making …" Astonishing vocal, astonishing track.
Dirty Glass – Dropkick Murphys
This is moronic, but in a good way. I feel like I shouldn't like it, but I've just re-watched that episode of The Wire where they held the whiskey-soaked wake for Ray Cole and I'm kind of in the mood for east coast "Irish" drinking music.
Fighting Talk – Everything But the Girl
Entirely unargumentative music supports a tale of a bitterly contested marriage war. "You slam the door and turn the catch," Tracey Thorn sings, "you turned your home into a prison, conversation into a slanging match …" Literally, ouch.
The Trees – Rush
Alright, so I like Rush a bit. Anyway, this is about an argument in a forest. Or is it? Perhaps it's a rilly, rilly clever allegory that only people wot read books will understand! (I haven't got a clue, sorry.)
Don't Answer the Door – BB King
Mr King is no one's fool. Instead of waiting for his wife to do something so aggravating he has to – has to! – have an argument with her (if not actually smack her legs), he tells her, in no uncertain terms, to not answer the door to anyone, not even her sister (FYI, she talks too much) while he's out mucking about with his pop group. It was acceptable in 1966. Amazing.
Man Next Door – Massive Attack
Horace Andy comes home late – perhaps he's been out for dinner with friends, or at singing at an illegal rave – and his next door neighbour is, as ever, "fussing and fighting", (that's reggae for "arguing"), and he does it "all through the night" to boot. Horrible man. The neighbour, obviously, not Horace.
The Spaniard That Blighted My Life – Billy Merson
Merson should have been as big as Al Jolson. But he wasn't thanks to the latter nicking this song and selling a million copies of it – in 1913, mind – before being sued for copyright infringement by Merson himself. Now that's an argument.
I Hate the Fact That We Breathe the Same Air – Monolithic
No words whatsoever, just nine minutes of freezing cold ultra-metal played by people who appear to be inventing a whole new world of music as they go along. Features a brilliant, fallen-into-the-depths-of-hell breakdown halfway through and a pant-wettingly heavy false ending. Actually mind-warping.
And so to this week's topic, which is, appropriately, mistakes. I'm after songs that are able to look at what's happened, hold up a steady hand and go, "You know what, that was my fault …" Let's hear about some songwriters that are aware of their own mistakes, but also those that can outline and highlight other people's errors and failings. Who's done something they shouldn't have done? Who messed up? Who did something awful they really want to admit to now? Who's got the gumption to turn a mistake into a masterwork? As ever, many extra points will be awarded to well-argued examples. Until next week …
The toolbox: Archive, the Marconium, the Spill and the Collabo.
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.
Let's be wonderful to each other – because who knows when it might be your time to trip up?
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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