Archive of: music
- Phoebe Bridgers - Punisher
- beabadoobee - Fake It Flowers
- Black Casino and the Ghost - Farewell Marshal Brunswick
- Thee MVPs - Science Fiction
- Rose City Band - Summerlong
- Run The Jewels - RTJ4
- Sault - UNTITLED (Rise)
- L.A. Witch - Play With Fire
- Sorry - 925
- SPICE - SPICE
- Jojo Rabbit
- Little Women
- Portrait of a Lady on Fire
- Palm Springs
- Queen & Slim
- Lovers Rock
I read 46 books in 2020, thanks in part to a Pratchett re-read and a global pandemic.
Virtual worlds were a fantastic way to shield myself from the state of the world in 2020. Some highlights were: Outer Wilds, Kentucky Route Zero, A Short Hike, Breath of the Wild, and of course, Animal Crossing.
This digital library was born out of a need to make resources about Black music history as comprehensive and accessible as possible. It contains well over one thousand entries (and counting) in the form of books, articles, documentaries, series, radio segments, and podcasts about the Black origins of popular and traditional music, dating from the 18th century to the present day. These materials range from informal to scholarly, meaning there is something in the library for everyone.
There are many notable archives doing similar work, yet it isn’t uncommon for some to have a limited view of Black music—one which fuels US-centrism and a preference for vernacular music traditions. This collection considers the term “Black music” more widely, as it aims to address any instances in which Black participation led to the creation or innovation of music across the diaspora. Plainly speaking, that means just about every genre will be included here.
Black artists have often been minimized or omitted entirely when it comes to the discussion, practice, and research of many forms of music. This library seeks to correct that. It is time to reframe Black music history as foundational to American music history, Latinx music history, and popular music history at large.
As has become tradition.
- Aldous Harding - Designer
- Angel Olsen - All Mirrors
- Better Oblivion Community Center - Better Oblivion Community Center
- The Brian Jonestown Massacre - The Brian Jonestown Massacre
- Death Of The Maiden - The Girl With The Secret Fire
- Deerhunter - Why Hasn’t Everything Already Disappeared?
- Karen O & Danger Mouse - Lux Prima
- Martha - Love Keeps Kicking
- Nick Cave & The Bad Seeds - Ghosteen
- Sleater Kinney - The Center Won’t Hold
It’s been a year hasn’t it.
What with all that going on out there (waves hand in general direction of the world), it’s felt like I haven’t had enough mental space for films or music during 2018.
I thought I’d seen very few films this year, but my Letterboxd stats only report a small drop on previous years. The same with music, I wasn’t sure if I could put together ten. I was very wrong on that front. I’d taken in more than I thought.
That’s the advantage of these posts, it’s an opportunity to take a step back and reflect.
So, in no particular order… (okay, alphabetical):
- Dream Wife - Dream Wife
- Goat Girl - Goat Girl
- Gwenno - Le Kov
- IDLES - Joy as an Act of Resistence
- Low - Double Negative
- Lucy Dacus - Historian
- Lucy Leave - Look//Listen
- Our Girl - Stranger Today
- Shannon Shaw - Shannon In Nashville
- She Makes War - Brace For Impact
- Tess Parks & Anton Newcombe - Tess Parks & Anton Newcombe
Dubstep songs are often criticized as sound extremely computer generated and often just too aggressive/“digital” for a lot of people to enjoy. It’s not uncommon for people to joke that they sound like someone had added a bassline and drums to modem noises
For some tracks this is truer than others. After all, it’s a genre with more aggressive interpretations and more relaxed ones.
But that had me thinking, how much effort would it be to actually embed machine readable data inside a dubstep track, while ensuring that the sound could be enjoyed by humans as well…
I want to call this something punny. Dubsteg? Dubsteganography? Dubstepanography?
Via O’Reilly’s Four Short Links (which is well worth space in your RSS reader).
Around this time last year I foolishly said
Well, the less said about the state of 2016 in general, the better.
… little did I know.
Thankfully it was another cracking year for music and cinema. So here are my top ten albums and films of 2017. Film was especially difficult to narrow down to ten.
- The August List - Ramshackle Tabernacle
- The Black Angels - Death Song
- Cigarettes After Sex - Cigarettes After Sex
- EMA - Exile In The Outer Ring
- Hanni El Khatib - Savage Times
- Kelala - Take Me Apart
- Loyle Carner - Yesterday’s Gone
- Mogwai - Every Country’s Sun
- The National - Sleep Well Beast
- St. Vincent - Masseduction
I’ve been on a bit of a soundtrack binge recently. They’re great to work to (and at the same time pretending you’re a spaceship/dinosaur/shark). While listening to Michael Giacchino’s soundtrack for The Incredibles, I spotted the title of the last track: “The Incredits”.
Then I looked at a couple of his other albums.
- Inside Out: “The Joy of Credits”.
- Ratatouille: “End Creditouilles”
Wait, is this a thing?
If you are in any way linked to Oxford, you may have heard that The Cellar, one of our most beloved music venues, is under threat of closure.
My first exposure to The Cellar was before I moved to Oxford, or even thought of doing so, back in 1995.
I was living in Coventry, and helping out my friend’s bands where I could. One of the bands I crewed for booked a gig in at The Cellar, so we loaded the gear in the back of the van, and after a trip down the motorway, the doors opened.
It wasn’t quite the Oxford I’d heard of, the home of Radiohead and Supergrass, the Dreaming Spires. There we were, on Cornmarket, hungry, tired, trying to work out where the gig was. We found the alley…
“Fuck, that’s a lot of stairs” 1
The Immaculate Assassins played to a couple of people, but it was a fun gig, and I remember the bar staff being lovely.
Cut to 2003, I’d been in Oxford six years now (that’s another story), and The Cellar had become part of my life. At least once a week I’d find myself there, discovering a new band, meeting new people, a lot of whom are friends to this day.
I wasn’t from here, but this had become my home. This was my Oxford.
I was playing guitar in a band 2 with some friends (I say “playing”… I was trying to find interesting ways to get effects pedals to cover up for my lack of talent) and we’d been having fun rehearsing at Glasshouse. We’d started to get a set together, and we’d invite friends to rehearsals to hear what we were doing. They’d bring beer, we’d swap instruments, play some covers, arse around, but we kept coming back to the set. And we got tighter.
I can’t exactly remember how it came about, but talk turned to actually playing the set in front of people. An actual gig.
Then we got a gig, and it was at The Cellar. Playing support… but it was an actual fucking gig.
I remember panicking slightly.
(…it’s the Cellar…)
Then I panicked a lot.
(…we can’t play there, that’s where… proper bands play…)
The day of the gig I was a wreck, I was so nervous I could barely speak. My partner was an absolute rock, we sat in my flat watching films, and she held my hand the whole time and told me it would be okay.
We set up, we sound checked, I had a confusing conversation with the sound engineer about the amount of feedback I was producing (“…I’m going for Jesus & Mary Chain, I’ve got this… I think”), we got a round of applause from the bar staff (I told you they were lovely), and then we waited.
Next thing I remember is seeing my band mates on the stage, and my partner saying “shouldn’t you be up there?”, I panicked, ran round the back of the artist area, up on to the stage smacking my head on the lintel on the way (if you’ve played The Cellar, you’ll know the bit of architecture I mean), plugging my guitar in, and thinking “this is it, I’m on stage at The Cellar, and I’ve given myself concussion, I’m about to pass out. Good work Garrett”.
I didn’t pass out, and by all accounts we played a good gig. I don’t remember much of it. At the bar after the gig a friend said that I had an “unconventional” style of guitar playing. I took that as a compliment.
The Cellar is an important part of my life, and it’s an important part of countless other lives.
The Cellar is one of those place where memories are formed.
Well, the less said about the state of 2016 in general, the better.
However, it’s been another inspiring year for music and film, so here are my picks of 2016. In no particular order, and as it’s my house I didn’t limit them to ten.
- Wussy - Forever Sounds
- Stephen Steinbrink - Anagrams
- She Makes War - Direction Of Travel (As I mentioned last year, it was always going to make a second appearance)
- Gitta de Ridder - Feathers
- Sad13 - Slugger
- Radiohead - A Moon Shaped Pool
- Martha - Blisters In The Pit Of My Heart
- Julia Jacklin - Don’t Let The Kids Win
- Josefin Öhrn + The Liberation - Mirage
- Agnes Obel - Citizen of Glass
- Angel Olson - My Woman
- Car Seat Headrest - Teens Of Denial
- Cavern Of Anti-Matter - Void Beats / Invocation Trex
- Emma Pollock - In Search Of Harperfield
- Heron Oblivion - Heron Oblivion
(If you want to see what I picked when limited to ten films, then you can have a look at my Letterboxd Top Ten for 2016)
- Sing Street
- Hail, Caesar!
- Hunt for the Wilderpeople
- The Nice Guys
- Swiss Army Man
- Rogue One: A Star Wars Story
- Kubo and the Two Strings
- Midnight Special
- Captain America: Civil War
- Jungle Book
- 7pm Moogieman & the Masochists (are cleverer than you or us and have songs about the murder of Rosa Luxembourg, astronauts leaving their phones on the moon, and Wolf-Rayet stars)
- 8pm The Aureate Act (smart enough to realise there’s nothing wrong with teenage musicians declaring a love for Genesis, Pink Floyd and King Crimson)
- 9pm Being Eugene (purveyors of metalcore of a particularly virulent strain)
- 10pm Drore (a malevolent, doomy crustcore supergroup)
- 7.30 Great Western Tears (roadhouse country-blues)
- 8.15 Slate Hearts (grunge riffage)
- 9.15 Kanadia (Radiohead/stadium pop)
- 10.15 STEM (electro duo, Portishead and Sneaker Pimps)
- 8pm The Beckoning Fair Ones (tightly reined-in rage)
- 9pm Cherokee (mighty heavy rock songs)
- 9.45 Crystallite (big ol’ 80s stadium rock and blues given a goodtime grunge kick up the backside)
- 10.30 Too Many Poets (in-your face gothic rock)
Turl Street Kitchen
- 8pm Charlie Leavy (hints of soul, jazz and even funk, Alicia Keys)
- 9pm Coldredlight (frankly astonishing emo-blues)
- 10pm Little Red (twist folk music into sublime new shapes, Imagine Nick Cave leading First Aid Kit into the forest to have tea with the Big Bad Wolf)
- 11pm Crandle (lo-fi cabaret duo armed only with the cheapest Casio keyboard in the shop)
- 8.30 Kancho! (lo-fi, high-octane two-man hardcore assault, At The Drive-In, Shellac)
- 9.30 These Are Our Demands (taught, Sonic Youth-flavoured rockabilly ruckus)
- 10.30 Lucy Leave (energetic and lo-fi noise approach, underpinning tigerish Pixies pop with bulldozing Hawkwind basslines)
- 11.30 Brown Glove (Victorian gothic and dark sexual themes)