Thursday, 20 July 2017
In Memoriam: Chester Bennngton
Tuesday, 4 July 2017
remaster system
Should I be concerned that I am now setting out to buy albums that I already own?
Am I getting forgetful?
The convoluted solution to this conundrum lies deep within the record industries insistence on re-releasing old music and now I have found that my past has been remastered.
First things first, this year does not mark the first time that I have added remastered versions of albums to my CD collection (that's right, you read it correctly... a CD collection, now deal with it), but the simple difference is that previously I had been acquiring these releases for the first time. I went through a phase of purchasing expanded versions of David Bowie albums, with a healthy disposable income and a hunger to own more music, I made a number of pre-orders to not just add The Rise And Fall Of Ziggy Stardust and Alladin Sane to my racks, but also whatever demos, alternative versions and live versions that came with it. Some albums I have listened to more than others (the two aforementioned, for instance), but I struggle to think of an occasion that I have gone reaching to indulge myself with a spin of Don't Let Me Down & Down (Jangan Susahkan Hatiku) (Indonesian vocal version) from the Black Tie, White Noise 10th Anniversary re-issue.
And this is the crux of the matter. Those albums weren't re-released for me.
They were put out in an attempt to part completists with a little more of their hard-earned for something they already own.
But now the past has caught up with me, as within a period of 9 months I find myself doubled up on copies of Be Here Now and OK Computer...
The Oasis re-releases started appearing to coincide with the 20th anniversary of Definitely Maybe, but I held out until what could possible be my favourite Oasis album (that's right, you read it correctly... , Be Here Now may be my favourite, now deal with it) got the full 3CD remastered treatment, adding remastered b-sides and unheard demo tracks into the mix, and the completest that lives inside of me was screaming out for me to pay full price for an album that I already paid full price for upon its original release.
D'you remember the furore that surrounded it? The overblown video for the lead single and the buzz of a band that had gone stratospheric with (What's The Story) Morning Glory?, and while HMV on Oxford Street opened at midnight for eager punters to get their hands on it on the day of release, I remember pre-ordering Be Here Now with a £1 deposit at my closest Woolworths in Waltham Cross, who opened an hour early to deal with the overwhelming demand (there were three people, including myself).
It must have been a half term holiday as I remember cycling to Woolies on that morning with my little brother in tow, cycling back home and then taping the album on my first listen so that I could get back outside in the sunshiiiine, on my bike with a copy of Be Here Now ever-present in my beloved portable cassette player (we all called them Walkmans, but they weren't Sony Walkmans).
With Radiohead, OKNOTOK presents an opportunity to own a nice shiny disc with which I can further explore the mindset and soundscape of a band on the verge of everything and nothing... critical acclaim, fanatical adoration and mental breakdown. And all for a price of £9.99, likely less than the album originally retailed for upon release.
And of course, the remastering process means nothing to me. Only audiophiles will be excited by whatever has been done to make it sound... actually, I'm not even sure how it sounds, since the remastered album isn't even the thing I am interested in and I'm not sure that the albums themselves have even left their respective cases since purchase.
So I'm now sat pondering what other 'classic' albums will be coming of age, reminding me of the ever advancing years, ripe for remastering and peddling back to those that already have them, facing temptation with a smattering of unheard or unearthed extras.
And I'm pondering which I'll be too much of a sucker to resist.
Tuesday, 27 June 2017
like a detuned radio...
Is it love? Is it obsession? Or is it just one band among a small handful that I am determined to see live, yet I am still to tick off my bucket list?
Are we all creeps? Are we all weirdos? Certainly in the long-ago time of 'before we all carried the Internet everywhere we go', it was a far simpler thing to feel alone, and feel that we didn't belong here, and to take solace in music, particularly in our teenage years. I distinctly remember picking up my copy of The Bends reduced in a branch of Blockbuster Video and always skipping back to the beginning of Street Spirit (Fade Out) several times once the album had reached its end, I'm fairly certain that my copy of OK Computer came from a Cash Converters, and I remember becoming so obsessed with Kid A (bought new upon release for a change) that I even insisted on listening to it in the car when my mum picked me up and dropped me off from my first weekend job.
And it was my personal preference to walk away from the to coverage, for that one night at least.
And I will see Radiohead, obviously on their terms and not mine, as they have already proved recently by playing the Roundhouse in Camden in support of A Moon Shaped Pool, and announcing arena dates in Manchester yet no arena shows for London this time around. And obviously by rolling up at a Glastonbury that I was unable to get tickets for.
And I'll hang in there, with the rest of the creeps and the weirdos.
And I promise not to be annoyed if they don't play Creep, after all, it will be on their terms and not mine.
Sunday, 18 June 2017
That Glasto Feeling
Sunday, 19 March 2017
Everything is....
Saturday, 27 February 2016
Time, and Time Again.
It isn't very often that I discover the music I am reviewing by way of answering a listing on Gumtree... But so the story goes, my contract was coming to an end at work and I was scouring the internet for jobs, then I got bored and distracted and instead started scouring Gumtree adverts for musical collaborations instead of job vacancies.
Out now via Bandcamp
Friday, 30 October 2015
sequential art storytelling
Why not give myself another pipe dream to wrangle with.
You know me. Blogger, Poet, Experimental Music Artist, Author...
and plenty more besides.
So why not add another string to my bow.
Why not stop telling myself that I'd love to write a comic book and actually get round to writing one...
And so the thought process behind my little venture for October started a little like that and ended up with my rough doodlings of a man-beast battling with stick figures across a plotted out 11 page story.
Like many people before I had wanted to run before I could walk, I've had an idea for a D-list DC universe character for a while, so long that I don't actually believe he even exists in the current New 52 DCU, it is a story than spans life, death and superheriocs. DC are the comics I've loved to read and are the ones I'd love to write... But I've never written a comic before!
Instead of diving feet first into my ambitious project only to find that it may forever be beyond my reach I chose to cut my teeth on something simpler...
Create a hero, 50s style.
Hero. Bad guys. Fighting. Other stuff... The end.
A real rush job, tell a tale, have a ludicrously dressed assailant fighting crime and wrap it up quickly. How hard could it possibly be...
Thankfully the seeds for my ridiculous hero came to me before I tried to put pen to paper, I wasn't looking for perfection, I was simply looking for fun... I imagined him to be a character designed in the boom of superhero creation, a simple time wasting wonder that would be thrown together in order to fill space in a cheaply printed strip, never knowing if people will care to read it or ever see more of your champion.
I've grown on writers that have pushed boundaries and one day wish to emulate the Grant Morrisons, Neil Gaimans and Allan Moores of this world. But not right now.
I grabbed some blank sheets of paper, folded them in half and wrote down what I thought would be the main beats of each page. Ten minute job. But the scripting and panelling became a far longer process, trying hard but trying not to try too hard, trying to keep it simple but to understand the pace of my story and how I expected it to progress.
Each page probably took me between 45 minutes and an hour as I deliberated over panels and speech bubbles, how many punches to be thrown and how many generic gangsters should enter the fray.
I toiled with ideas for supporting cast and plot, fearing it would be too derivative or seen as a mere copycat of other heroic tropes... But then again my agenda was based on the works of an era when heroes looked alike, with publishers keen to emulate the sudden popularity of a super-so-and-so, and so I steamed ahead with my story of cops and robbers and a mysterious figure fighting for right.
And so this is the story of how I became a nearly-but-not-quite comic writer, with one original creation under my belt and a rather fun draft of thumbnail pages to my name. I'd like to see my character fully embellished, with an actual artist giving life to my stick figures in fedoras.
I've already got plans for his teenage side-kick, his arch-nemesis and a handful of spin-off titles, they remain unwritten as yet, but it should be enough to keep a movie franchise going for several years at least.