Monday, 1 June 2015

Power, Corruption And Lies

Sepp Blatter. The very words are still making me laugh, almost as much as the commentators and social media wonks who lost their marbles over the idea that he could be voted back in to position. Anyone with a working knowledge of power structures knew very well that boat had sailed long ago.

On Radio 4 this morning in discussion of the new government suggestions for free childcare for under 3s I hear a woman tell the reporter she is 'lucky' as both her and her husband work full time. No one asked the child whether it felt lucky to be in wraparound care but no doubt had they a parade of 'experts' would have appeared to confirm that, yes, children in structured play environments from an early age (particularly from 'deprived' backgrounds) do make greater headway in early stage learning than their counterparts. Presumably the first stage to attaining that luck of their parents to be in full time work with their partner years hence allowing them to also put their child in wraparound care. No one would have asked whether parents not seeing their child for five days a week, 50 weeks a year was beneficial to either party nor whether emotional intelligence was being measured alongside cognitive ability.

I do understand what the woman meant.  She is reflecting a version of normal that FIFA delegates were reflecting when reinstalling Blatter. Orthodoxy is a powerful tool. Tony Blair lies about invading Iraq, we all know he's lying, we know the dossier is rubbish yet we march and fail and acquiesce and shoot barbs from the corner of a virtual room. We fail to enact real change because we shrug and say, 'what can we do?' In the case of Blatter we are left with the idea that the power of those titans of ethical responsibility, MacDonalds, Mastercard and Coca-Cola should do our work for us. We are bought into the idea that working is good, leisure is earned through work, children are best left to semi-independence from a young age. We are modifying the idea of upper class living into a beige, 21st century version that, paradoxically, makes us less free than our great grandparents who had to fight for votes and unions and healthcare and freedom from the tyranny of an establishment explicitly designed to contain them. To add to the irony the free market is placing our children into a context that would be perfectly at home in the state knows best dictatorship of an orthdox Communist entity, albeit with the party politics leached out.

For nannies read state assisted childcare. For cooks read Marks & Spencer ready meal. For staff read minimum wage cleaner, for butler or ladies maid read personal shopper, for real social provision read Children In Need and Comic Relief. It is a Soylent Green version of freedom, a tyranny of meaningless choices masking a reality of no choice at all. A trade of the real aspirations of the post war generations of 1919 and 1946 for an 'on demand' fascimile of that which they aspired to achieve. We are so in thrall to the pantomime that is created for our entertainment that in a few weeks, Blatter will be replaced by a new Punch or Judy, the social networks will once again go into meltdown and nothing will happen.




Friday, 20 March 2015

SERGIO! SERGIO! ON MY RADIO

Always good to start Friday with a touch of Bolshevik inspired Heimat romance, Russian dancing and gorgeous acoustic versions of songs you already love.

Agreed? If so scroll down.

The former is supplied by the Ally Kerr film for A New International's 'Once Upon A Time In The Revolution', the track that takes Leone to Leon (Trotsky) for tea. At least one Sergio is in my good books this week.



The latter requires a little more effort but to access session versions of both 'Come To The Fabulon' and 'When I Walked The Earth' recorded for The Culture Show (oh aye, they know their culture) go hear and then fast forward to one hour in until you hear 'Valentino', then sit back and enjoy

And, as if that wasn't enough, you can hear the whole of 'Come To The Fabulon' hear. If you haven't heard the album yet then, really, what have you been doing?



Wednesday, 4 March 2015

STARBENDERS - ROCK N ROLL BOYFRIEND


Loving this from Atlanta's Starbenders



And, lucky me, just got some new tracks so keep your eyes open for more later....

Now to find a way to get them over to the UK.........
FOR IMMEDIATE RELEASE – IMPORTANT EDUCATIONAL RESOURCE BELOW

EDDIE ARGOS


Tells You How He Formed A Band And The Inside Track On Rock n Roll

SPOKEN WORD TOUR MAY / JUNE 2015

Pop music, as we all know, can be an uncertain business. Whilst a chosen few achieve their dreams of riches, world travel and mass adoration for many a spot at their local battle of the bands is the limit of their fame. 

In October of last year Eddie Argos, world renowned lead singer and songwriter with Art Brut, the London band that have spent the last decade redefining the meaning of stardom, entertained a select audience in London’s Islington with the tale of how he created Art Brut and forever changed the face of popular music.

Now the whole of the UK will have the opportunity to hear his tales of a life spent in rock n roll, from playing the vacuum cleaner onstage to lying to people in London about how he could sing like Aretha Franklin. This is his story.

Dates are as follows, tickets are available now via usual agents or links below.

May
Saturday 23rd Edinburgh, The Voodoo Rooms (Speakeasy)
Sunday 24th Glasgow, Broadcast
Monday 25th Aberdeen, The Lemon Tree
Tuesday 26th Manchester, Gullivers
Wednesday 27th Birmingham, The Rainbow
Thursday 28th Cardiff, The Globe
Friday 29th Bristol, The Birdcage Door Sales Only
Sunday 31st Leicester, The Musician

June
Tuesday 2nd Norwich, Arts Centre
Wednesday 3rd Cambridge, Portland Arms
Tuesday 16th Brighton, Komedia Studio
Wednesday 17th London, Courtyard Theatre

FOR MORE INFORMATION - LOUDHAILER PRESS
Lewis Jamieson - lewis@loudhailerpress.com / @LewJam / 07718 652582

MORE ABOUT OUR SPEAKER
Eddie Argos grew up fantasising about being the singer in a band that would tour the world, despite the fact he can't really sing. Somehow he managed it and now he is going to tell you how. Heartwarming story or cautionary tale? You be the judge.

https://www.facebook.com/eddie.argos
https://twitter.com/EddieArgos
http://www.the-eddie-argos-resource.blogspot.com
http://www.artbrut.org.uk/
http://www.eddieargos.com

Tuesday, 3 February 2015

LONGFELLOW SCORE A & R WORLDWIDE'S VIDEO OF THE WEEK


Our favourite South London Alt-poppers Longfellow have had their quite remarkable video for the current 'Medic' single heralded as VIDEO OF THE WEEK from those nice folk at A & R WORLDWIDE. Coming on the back of lists at 6 Music and Radio 2 here is further proof (if you need it) that Longfellow are making all the right moves as 2015 swings into action. Their headline show at London's Borderline on 26th February is all set to be one of those gigs.

A&R WORLDWIDE’S "VIDEO OF THE WEEK" – LONGFELLOW


South London’s Longfellow consists of Owen James Lloyd (vocals), James Thomas (guitar), Ali Hetherington (keyboards), Lewis Fowler (bass) and Tom Warhurst (drums) who create melodically charged alt pop. They invaded the UK’s airwaves with their singles “Siamese Lover,” which was supported at radio by the likes of Steve Lamacq on BBC Radio 6 and Jo Whiley on Radio 2 and “Kiss-Hug-Make Up” which was included on the Radio 2 playlist for three weeks, which led to a special Fierce Panda X-Posure show for Xfm’s John Kennedy last May. As Longfellow gets closer to the launch of their new EP in April, they’ve unleashed the new single “Medic.” The song has appeared on the playlists of Xfm, Radio 2 and 6, which is quite the accomplishment for an unsigned band. The video clip is nothing short of amazing with the animation and positive story. Longfellow has upcoming gigs in London at The Social tomorrow night and at The Borderline on February 26th. Watch the clip for “Medic” HERE and contact Simon Williams of Fierce Panda at simon@fiercepanda.co.uk for available opportunities, as Longfellow is available for signing, publishing and synch opportunities worldwide.

Monday, 19 January 2015

Blunt Arguments

Too posh or too poor? Contrast James Blunt with The Courteeners. One is pilloried by the media for being the former, the other has a fanbase that is criticised in print for being 'yobbish', media shorthand for working class male. Both are on a blacklist at certain media. It's a funny old world.

When Chris Bryant makes the reasoned observation that entry to the arts is becoming the preserve of a moneyed elite he does us all a service. I have long argued that music, and the wider arts, is becoming the outlet for a certain view of the world, whether in television (see my previous post, that music is too centred on both London and an intern culture that is now so firmly embedded that both music and media outlets are proving self selective in their staff choices and that this self selection is proving a destructive force on musical culture as it disengages the fan of mainstream rock music in particular from the media and vice versa.

Where Chris Bryant went horribly wrong was to start naming names. James Blunt is not responsible for the narrowing of the windows of opportunity for non middle class kids on either the business end or performing end of the recorded music industry. A combination of those internships, the reduction of social welfare allowing musicians time to get their music together, a winner takes all culture and a host of other players are. Somewhat notably, many of these were the work of the very party that Chris Bryant claims membership of in its long run under Blair and Brown. Nor is Eddie Redmayne a destroyer of working class opportunities in film. Given that membership of any of the leading acting job sites racks up to hundreds of pounds per year, rep has been reduced to rubble, drama in schools is now pretty much the sole preserve of dedicated teachers giving up their spare time and deregulation of television has given rise to a host of players devaluing the core culture of television drama and therefore removing art and replacing it with cheap to air reality television (another middle class laugh at the poor trick that persists) it is little surprise that the idealism of the 60's that raised Glenda Jackson has been replaced by a low cost strategy where the only exceptions are driven by star names. Then bear in mind that the vast majority of acting jobs being fought over by far too many actors are unpaid and Eddie Redmayne's part in this reduces to nothingness.

I am glad to see a politician raise the question of culture and put it centre stage. I am not convinced that direct government intervention is the way forward. What is inescapable though is that whatever else he may be guilty of, James Blunt is not the villain of this particular piece.



Friday, 9 January 2015

Thoughts on a grey January / The Worship of metrics


In conversation with a friend in the USA last night we got onto the topic of a potential home for the phenomenally talented young band he is producing. The band, who I shan’t name as this isn’t really about them, are strident, political, engaged true believers in the power of rock ‘n’ roll to transform the dull mundanity of life in the 21st century, not least of all their own. If that sounds old fashioned to you then I would suggest that is your problem, not theirs.

In an increasingly atheistic society, music is a faith that is losing traction; to turn the language of the unbelievers back on themselves. We are all aware that choices for exposure are now made predominantly on the basis of metrics, that distribution of music, coverage, airplay, even live fees are at the mercy of a gaggle of ‘followers’ on social media, the power of the mouse click translated into an ability to shape popular culture with micro second engagement with passing tracks, bereft of context or impact, set adrift on a sea awash with flotsam and jetsam, wreckage of the next big thing or the last great movement.

In the course of that chat we discussed where we might find the new Creation or the new Sub-Pop, labels that we felt would have been a perfect fit when in their pomp for this band. The reasons were precise. In both cases these were labels that had taken the zeitgeist and shaken it at a time when rock culture, that subset of pop music that can bother the mainstream but has never set out to see it as a principal target, was in the severe doldrums. Whether it was the Mudhoney / Nirvana axis that cleared away the dead hand of hair metal in the US and the sub Smiths indie pile up in the UK or the Oasis / SFA / Teenage Fanclub / Primal Scream era of Creation that reintroduced the concepts of proper stardom, rock ‘n’ roll excess both literal and artistic and genuine joy in music and engagement that blew away the tail end, back to metal clichés of grunge’s last gasps, we concluded that there was simply no label like that in existence.

This, in 2015, seems the essence of the problem with what I will call my music culture. That culture is broad in genre, it can accommodate indie guitars with grunge metal, noise pioneering with ambient electronics, crushing techno and beats with acoustic driven sentiments but, at its heart, it is a music of belief and, crucially, at its centre is the idea. The idea that we are doing something against the mainstream culture, the idea that we are right and they are wrong, the idea that we will storm their establishment and change it for a time, the idea that our moments may be brief but they will be many and that those who journey with us will have their lives changed and enriched irrevocably and permanently. This is not an engagement with a like button.
It is easy to counteract this idea. I have released enough records, managed, pr’d and engaged with enough artists and events over 20 years to know very well that the economics of music are perilous and getting more so, that making money from promoting music in any way, from curating great talent, is not a sensible way to live but my simple response is ‘so what?’. If those at the helm are of this opinion they shouldn’t be there. Dreams are not built on certainties, culture is not transformed by careful attention to profit and loss columns. Music is not a career. It is a vocation. That applies as much to those supporting its creation as those at its centre making the stuff. Great art never came from a focus group. In truth nothing of any note came from a focus group, possibly excepting ‘Nuts With Gum’. (Ask a Simpsons fan).

January is, as ever, the month of lists. More so than ever, those high profile bands to watch countdowns, with some notable exceptions, read less like an expression of belief in the transformative power of music and more like an assessment of forward planning metric delivered by a middle manager in a mid range designer suit via Powerpoint on a wet Tuesday in a boutique London hotel. Our culture needs a counterbalance to this endless grey, to the march of the marketeers and their metric worship. If anyone does spot the new Creation or the new Sub-Pop I’d love to know. In the meantime, I’ll keep the faith and, as a wise man once said. keep kicking against the pricks.