Archives for posts with tag: Television

mbv 2

Further thoughts following up the original review/appreciaton: ‘mbv: A Remastered Review’ piece (https://tuppencedylan.wordpress.com/2013/02/14/m-b-v-remastered/)

What started as an attempt to be quick to respond to an unprecedented new album release ended up turning into a kind of ‘m b v’ journal. It also got confused by an intervention from real life that made me concentrate on something other than music for a week. I have tried to edit these ramblings. I don’t know how successful I have been. Dates and references may be all over the place. Beware repetition and mixed connectives. I’ve kept the production values hazy to retain an overall effect, don’t you know.

So I didn’t spend Saturday afternoon (February 2nd) and evening eagerly trying to be among the first people to get the new My Bloody Valentine album, listen to it twice and quickly post a review thus the massive outpouring of blogging that went on. The reviews are now appearing (February 5th) but no reviewer has had more than 3 days to get their head around the album. There were clearly no advance copies. You might as well buy it and do it yourself. You may even have an insight into the idea that maybe music journalists regularly knock something off during lunch rather than listen to a review copy over a week to get familiar with it. Is it any good? It’s a late 90s MBV album, what do you want exactly? If you are interested, if you already own ‘Loveless’ or more, then you are bound to like it. It’s that simple. Does it break new ground? Maybe it did but it doesn’t really break much now. How could a groundbreaking album even be humanly possible? Someone is supposed to have recorded consistently groundbreaking music over 5 years and then kept it in the vault for 15 and none of those ideas have since been developed, done to death or even started to sound dated. Impossible unless you believe Kevin Shields to be some sort of actual prophet.

However, some of the critical reception seems to suggest that this is an even more perfect album than ‘Loveless’. Now, it seems obvious to me that Loveless was far from perfect, ‘Soon’ already sounded dated when preceded by the rest of the album. It was recorded 18 months before, imagine 18 years… ‘Loveless’ is a seminal album but at the time it was one of many that came out in 1991. Nirvana were the biggest name in alternative music when ‘Loveless’ came out and would remain so in its wake. Shoegazing bands who borrowed heavily from My Bloody Valentine’s sound had vanished as a going concern by the mid-1990s when this ‘new’ album should have come out. Only Spiritualized really survived only to later become a tad predictable and Stereolab either took the scene forwards or backwards depending on your opinion, or the Stereolab album for that matter. We may joke about Ride going on to become a source of a new Bonehead in Oasis, but Shields was an extra in Primal Scream too. A lot of the reviews of ‘m b v’ seem to forget the context it would have had if it appeared way back when.

Of course, another reason to not take the announcements of an imminent release seriously was that there has been plenty of form in that department. Sudden announcements have been made before and turned out to be inaccurate. How do poorly remastered reissues result in a delay of over a year? The new album was supposed to be delivered before the end of 2012. Why am I going to waste Saturday waiting around for another rumour to play out false regardless of who starts it? Clearly plenty of people did. It is as if the sudden December announcement left fans almost feeling spoiled for choice after so little material for so many years and then this reaction ‘inadvertently’ created a massive blog hype machine of people checking daily for a new ‘m b v’ album like Marquez’s colonel waiting for his pension or J.R. Hartley tracking down a copy of ‘Fly Fishing’. Did New Order fans do this once ‘Lost Sirens’ became delayed? More on New Order to come. (Probably too much on New Order so that the point becomes laboured. The point is also weakened as ‘Lost Sirens’ is so dull, that I still can’t be bothered listening to it again for this piece…and still can’t now as I edit this for a second time.) Does this instead reveal something about MBV fans of the past 20-odd years? We are either still pissing around waiting for alternative albums to appear rather than mowing lawns or frantically barbecuing or our lawns and barbecues become instantly tedious when compared with a new album from a band from another era. Either way, we may have failed or missed a few boats somewhere along the line. Let’s start trying to pull ourselves together.

Indeed (no idea what this ‘indeed’ follows but I like it’s tone so it stays), on Saturday itself, the website crashed, trying to pay without Paypal was still proving impossible on Sunday afternoon in my case. However, after a break for a late lunch, I got myself an incorrectly registered Paypal account  (I still have to get back to them to sort out my account which is currently registered as being in both Shropshire and Chiapas for some reason) and downloaded the album fairly easily despite iTunes attempting to create two albums, the first of which just contained the opening track. By 7pm Sunday, I was using ‘m b v’ to soundtrack my Superbowl experience. I had spent an hour or more attempting to achieve this and it had cost me over a tenner, had they just stuck the album on iTunes I would have merely had to pay £6 at Mexican prices (actually 4 if a recent 3 for 2 offer on gift cards is factored in). Can’t quite see how we are supposed to be behind the self-releasing and publishing revolution on those figures. The sound is also poorer than my usual iTunes downloads and needs a boost of a good 20% to get the full effect on headphones much like an old Northern Soul collection. This could be deliberate as those old albums tend to be viewed with much more affection than an artificially loud recording that lacks both depth and substance. Oasis were guilty of this in the past and history shows the lack of depth it masks. However, this quiet album might have been drowned out by the tedious bombast of Britpop had it appeared in the second half of the 90s. The quality of sound and price of ‘Lost Sirens’ is better but this is like a teacher praising a child for an immaculately produced but ultimately vacuous essay.

The delays, the hold ups, the mistakes, the general fannying around and the cost had seriously irritated me before I began my listening experience. That may be why I was ready to bathe in backlash. I was wrong but also notice that the backlash seems to be disappearing as the week develops and reviewers have actually had time to listen to the album PROPERLY and reflect on something special rather than just vent their frustrations as I would have done on Sunday. However, Monday morning felt good with a new My Bloody Valentine album to enjoy afresh and which sounded so familiar as to be comfortable. It is a form of nostalgia, albeit a nostalgia for something that sounded like nothing else at the time of its release.

Did I give ‘Loveless’ the same attention? At the time I seem to recall being more of a Nirvana and Galliano fan. Yes, that is quite the combination. Good job I didn’t start a clothesline pushing lumberjack corduroy. ‘Loveless’ almost seem to deliberately arrive at a time when it would not attract too much initial excitement compared to what would ultimately grow afterwards. It’s reception and reviews of the new album do suggest a lot of people, experts even, only becoming fans long after the initial release. With ‘m b v’ the group have successfully created the exact opposite effect. I imagine that this will lead to ‘m b v: 1 year on’ articles arriving in Stereogum in about 11 months.

Too many reviews and reactions, more depth. (That note was written some time after reading through endless reviews)
This still seems to be something of an issue despite attempts at improving the responses after initial reviews had been rushed out. Time may be the enemy of the blogger but it is necessary for truly great music to take hold. I suggest we might just like to revel in that indestructible fact rather than frantically aim to disprove it by comparing ‘m b v’ to ‘Finnegans Wake’ just because Shields and Joyce are Irish and took years to follow up on their most fondly remembered work. ‘Finnegans Wake’ is a nightmare for any reader to deal with and may only work properly if read out loud with the emphasis in all the right places for the phonetic jokes to work. That is clearly very different to ‘M b v’ which may even be more accessible than ‘Loveless’. FW is more like Terrence Trent D’Arby’s 2nd album or ‘The Second Coming’ but with more depth.

Why didn’t people react this way to ‘Lost Sirens’? I guess that’s the true value in not keeping a legacy going when uninspired. Essentially, that seems to be what Kevin Shields has done since 1994/5-ish when the rough demos for this album must surely have been recorded but left far from completion. Does ‘m b v’ sound dated? Yes, of course. The most substantial aspects of its recording  are at least 18-years-old. It does not sound as dated as ‘Lost Sirens’ which must have been recorded about 10 years later (I swear it only gets one more reference. They should have called it ‘n o’ for convenience). However, there are clues that suggest the album is from the vaults rather than a new idea or a reflection of where Shields is at in 2012. The Primal Scream remix (‘If They Move, Kill ‘Em’) sounds more modern than the first 6 tracks and they must surely pre-date it. Afterwards comes ‘Wonder 2’, the 2 tracks prior to it could be contemporaries of the Scream mix but ‘Wonder 2’ seems like the next step – which makes this album a summary of My Bloody Valentine 1992-1998.

That makes it hard to dislike. That makes it exceptional, like if The Beatles anthology series had turned up an entire album of unreleased tracks secretly recorded after the group had ceased to function and assuming they weren’t as dull as their solo work. Like the ‘Caribou Sessions’ bonus CD that you get with the Dennis Wilson ‘Pacific Ocean Blue’ reissue that did so well and inspired so much affection a few years back. Affection is the only reaction possible from fans from the original era. Later fans who picked up on the legacy cannot fail to be blown away by 9 new tracks which are not completely new and thus reveal weaknesses compared to current sonic experimentalists. Television or Big Star’s comeback albums and so many others did little to add to their legacy, more taint it. Would you want your favourite cult band to release more albums after they were close to the zeitgeist than when they were it? Just ask Mission of Burma or Dinosaur Jr. fans, it’s a false economy. The new cannot be better than the old when there has been such a gap in development. In that way, this new album may promise more to follow now that a line can finally be drawn under the 1990s.

So is it any good then? (I have since decided that it definitely is.)

Initially I have to say I thought it quite bland. The muddy production and mastering don’t help. The sound quality on the mp3 means turning up the volume every time I listen to the album, which is a bit much if you have been listening to old My Bloody Valentine b-sides immediately before as happened later in the week. However, it is noticeably familiar from the very off. The album still hasn’t leaped out at me (after a day or two?) and still seems like it would have made for an excellent additional release in 2012 to draw a line under the 1990s. I initially view it as something like Can’s ‘Lost Tapes’ or even a good version of New Order’s ‘Lost Sirens’. ‘Loveless’ didn’t immediately grip me as ‘Nevermind’ did around the same time. I always felt that it was excellent but there was always room for improvement as ‘Soon’ seemed to spoil the end of the album as it sounded like it belonged elsewhere. ‘Isn’t Anything’, the ‘You made Me Realise’ EP and ‘Strawberry Wine’ were almost if not more enjoyable than ‘Loveless’ to my ears for a year or so. It was only later on in life that it became my go to MBV album above all others. I had also, presumably, stopped listening to Galliano by that point after being irritated by their appearance at Glastonbury 1994.

Then (not sure when) the listener starts reflecting.What would lost albums from other groups from this period sound like? Would they be any good whatsoever? Did anyone get excited by the lost Screaming Trees sessions that appeared a couple of years ago? Another issue to consider is whether this album would have been as well received then as it has been now? Oasis kind of blew subtlety out of the water in the second half of the 90s ands only Spiritualized seemed to come out of the shoegazing era relatively unharmed. (I know, I know, I said it already.)

A similar joy to ‘m b v’ can be found on the second Bark Psychosis album, ‘Codename: Dustsucker’ which appeared 10 years after their debut but didn’t create quite the same buzz. Err…that’s it on Bark Psychosis I guess, but both their albums are worth seeking out – especially if you find them in a clearance sale in El Salvador for about a fiver for the pair as I did.

Those last 3 tracks…I may have already covered all of this in my previous review.
‘Nothing Is’ is excellent in its relentless de-tuned glory. An excellent build towards the most talked about track, ‘Wonder 2’ which someone summed up simply as “relentless helicopters”, I forget who or where but can always credit it if someone tells me. It is a brilliant two-word review though. After hearing ‘Wonder 2’ a few times on e realises that it is the most developed sound in terms of progression but perhaps not the album track that you will return to repeatedly. That honour seems to fall to ‘In Another Way’ which does all the shimmery stuff in the right way and would make for great headphones in the bath listening. To some extent it is comfort food but it also hunts around and finds the uplifting melody that transports the listener that none of the first 6 tracks quite manage to do. This is the track that you will whistle or smile while listening to, much to the disbelief of the passing pedestrian – these are MBV melodies after all.

‘Isn’t Anything’ was my MBV album, complete with the introduction of fairly nondescript titles. The ‘You Made Me Realise’ EP lifted MBV to the status of fabled band for me and therefore I found ‘Loveless’ a little disappointing when it first appeared. The muddy production can’t have helped. The preceding EP suggested something odd and then the album returned to more familiar territory in a number of cases. ‘Strawberry Wine’ really needs to be properly reissued though it may not suit Shields’ tastes, it was a beautiful piece when it arrived, much more so than the scrappy yet exploratory ‘Ecstasy’ mini-LP. Prior to that, ‘This is My Bloody Valentine’ was weak, but single tracks like ‘Sunny Sundae Smile’ and ‘Lovely Sweet Darlene’ are not that far removed from future MBV sounds if only a little more cute and Sarah Records in style. One thing is clear, from 1988 onwards, MBV were always near the top of my lists of favourite artists even if I might not have realised this during their late 90s. The feelings inspired by ‘m b v’ tell me that if nothing else.

Can this album create a legacy like ‘Loveless’ managed to do? It shouldn’t. In 22 years, there should by now be plenty other superior albums which explore, remind and uplift in the same way without arriving way after the event. It has been incredibly well received. It probably averages higher review scores than ‘Loveless’ managed but would any of those reviewers dare go a step further and claim it to be a better album? A more perfect sound? Forever? Still, it beats listening to Hot Chip discussing Hall & Oates in interviews. ‘Wonder 2’ or ‘Maneater’? It’s not a difficult choice as to which will inspire the better music in the future if not the least derogatory. Blah, blah, blah etc.

ENOUGH!!! 

charlie boyer

Sometimes all it takes is one great single and we begin to forgive British guitar bands for heading down a myriad of creative cul-de-sacs OR we find ourselves wondering whatever happened to David Devant and his Spirit Wife (and then disappointed to find ‘Cookie’ is unavailable on Mexican iTunes). Then again there is always a barrage of band names floating around like they have always been there and they generally have, friends of Toy who are friends of The Horrors and they know Noel Fielding, don’t they???

‘I Watch You’, produced by Edwyn Collins, has that retro New York in the 70s sound that doesn’t evoke Television and Jonathan Richman so much anymore as it does The Strokes. It certainly isn’t a million miles away though the voice sounds a little more crazed and less contrived. However, the disaffected video performance of Charlie Boyer does echo that detachment that so irritates those in search of good music. It worked for The Strokes for a while, it still does in terms of a cartoon image that will flog tickets on its own despite the absence of any decent new ideas for well over 10 years. East End pubs have also been mentioned in press material just to happily echo The Libertines era rather than jellied eels. The use of a cheap organ sound helps to restore some innocence or possibly reminds me of Tiger. Flipside, ‘Be Nice’, is definitely a cuter song from the title onwards though the Tiger comparisons remain for me. It also sounds a lot more C86 influenced than the a-side, just a little more self-consciously cuter. Both sound like significant departures from Electricity in our Home, Charlie Boyer’s previous band who split earlier in 2012 after a disappointing debut album.

So are we dealing with naivety or the art of knowing? The sound of the single in isolation suggests the former, perhaps we can thank the presence of Edwyn Collins for that. The live footage and videos featuring inert expressions and little movement point to the latter as does the convenient disappearance of EIOH about six months before the appearance of CBATV. I suspect that the debut single may have delivered a little too much and that there may not be a lot more to back it up with but then I am just a jaded old cynic still mystified by the commercial failure of The Jasmine Minks. However, it seems as if the advantage that CBATVs have is that they emerge at the same time as a lot of other bands tagged in a similar way: Could this be the future for British guitar bands? That has a silent ‘What’ in front of it and an additional question mark after ‘be’ for most.

childhood

Palma Violets, Savages, Childhood, Peace and Temples have been touted around as a new kind of scene along with Charlie Boyer and the Voyeurs. Savages seem a little different to the vibe of the others as a harsher sound with more post-punk leanings than the other bands mentioned. Palma Violets sound like the next laddish UK indie hype but not without some merit (I have yet to work out what it is  but I like it). Their debut album ‘180’ drops in late February either giving them a head start or dropping like a stone. Childhood sound like a laid back version of early Bloc Party with a rather overused chorus pedal getting them all the usual shoegazing props. However, if that blissed out haze is your thing, then their debut 45 ‘Blue Velvet’ doesn’t disappoint and my recommendation would be to drap yourself in it, Costanza-style. Temples sound a lot like The Allah-Las and thus bring the 80s Paisley Underground to mind. I’m not entirely sure about Peace though – typically this is the only one of these bands signed to an old-fashioned major label thus far. Boy do they look young and why does their ‘Bloodshake’ video remind me of Soda Stereo’s ‘De Musica Ligera’? The one where they look a bit like later 80s Goths who prefer lipstick to the Nephilim’s flour – don’t ask if you don’t know and you probably don’t want to know. If you do know, then you know what I mean. Anyway, Peace suggest that a Gene Loves Jezebel revival may be afoot or possibly Pale Saints. That could be interesting for anniversary tours as one of GLJ’s ex-drummers has since become a primary school teacher obsessed with dolphin songs and Damian Marley. Good luck with that! However, the latest 2013 track from Peace, ‘Wraith’ suggests they may have had their ears bent by someone in search of a bit more crossover and thus to me they sound lost inside corporate hell. Take some advice from Death Grips, boys. (For further details: https://tuppencedylan.wordpress.com/2012/11/02/death-grips-epic-cock-saga/)

temples

At the end of this little run through the ‘new’ sounds of 2013 it seems just like the emergence of Ride, Chapterhouse, Pale Saints, Spirea X et al in the early 90s. Similar comparisons might be made to the first crop of bands that acted as a backlash to Britpop. What goes around comes around. The Strypes seem to think everyone may have forgotten what early Beatles looked and sounded like or early Stairs or even The Coral. Just like most movements or scenes rather than individual bands, it seems hard to see where the truly earth shattering music will come from. In most of these cases, it has already been made and the scene just follows it. Charlie Boyer and the Voyeurs have a good idea but can they run with it over an album? I guess this question will be answered in May when their debut album, ‘Clarietta’, drops. I sincerely hope it’s considerably better than the Electricity in Our Homes debut from a year ago.

Needless to say, preparing this article has already led to two further downloads from among the new talent on offer. this always seems to happens to me as I guess, at heart, I’m a scene sucker who doesn’t learn from his mistakes but does still have a soft spot for David Devant and his Spirit Wife and the way they seemed to mould late 90s Camden indie and The Sensational Alex Harvey Band. Scenes become all image, sucking the very life from the music if there ever was any life there to be had. That’s why I’ve gone with actual record sleeves for artwork rather than group pictures that really could be anyone from the past 20 years or so. The same can so often be said of the music as some are excited by a new Wild Beasts album this year, I just wonder if it will sound a little less like Geneva and Savages sound amazing and yet very familiar. I can find great enjoyment in The History of Apple Pie album I am about to download but little originality (it sounds like Asobi Seksu who sounded like Lush), maybe it was always this way and age and experience just serve to educate a previously raw palate OR its best to just enjoy music made in the right spirit without worrying too much about whether it is derivative or not but then again, backing either attitude 100% would lead to a very dull collection of music.