It's been a while. My day job as an editor has been taking over far too much lately meaning that any music related writing has had to be put on the back burner.
Looking back at the most recent set of posts on here, I realise there's been a lot of negativity flying around. Have I finally lapsed into being a jaded hack? Tales of problematic interviewees and scathing album reviews may point towards this. I do however remain relatively chipper thank you very much so feel it's time to put some more positive tales out there.
Which brings me on to good interviewees. As I said before, I take musicians as I do everyone else, as human beings. And you are bound to encounter human beings you get on with and those that you don't. I am happy to report that I have had far more of the former as interviewees than the latter (the latter being almost wholly covered in previous posts).
My first few phone interviews since I started writing about music again about six years ago were with million unit album sellers, Röyksopp, an unknown act called Dear Eskiimo, who have now gone on to become the Ting Tings, and Dave Stewart of the hugely successful Eurythmics. Each was massively different but taught me valuable lessons.
The interview with Torbjörn Brundtland of Röyksopp was a strange start. Every time I asked a question he gave me a witty, surreal answer but because in my head I felt I had to get serious answers, I kept pressing him, asking him the same questions till he gave in and gave a serious answer. Which not only must have been quite frustrating for him but meant the interview went on for the best part of 90 minutes! He even asked at one point, "Is this interview for radio?"
So not a great start but I learned that it's best to take interviewees as they are rather than trying to force the desired answers out of them. More importantly I learned that it's invariably better to put across any humour and personality that comes across.
Dear Eskiimo was different altogether as they were in the same boat as me - nervous because it was one of their first interviews. That common ground allowed everyone to relax a bit and the interview flowed well. The Eurythmics interview was by far the most daunting though. More of which on my my next blog post...
Useless music fact #12: The Chemical Brothers were one of the few people not to be grounded by the Icelandic volcano as they had a private jet chartered. Brothers gonna work it out!
Originally posted on http://blog.ianroullier.com on 20 April 2010.
Tuesday, 20 April 2010
Saturday, 30 January 2010
Shouting spite or spouting shite?
"Lame-arsed, flat productions with all the bollocks of a eunuch..."
I've just written my most negative and scathing review ever (click here to read the full review).
While there have been other occasions in the past when I've been critical I've never been this angry, vitriolic and downright negative. Why? Because most music is average, not genre shatteringly brilliant or so awful you want to pour molten lead into your ears. And as a 'critic' its surely my job to write a fair portrayal of an album, single or gig or whatever it is? If it's average, it's down to me to weigh up the pros and cons and sum them up, in as entertaining and colourful a way as possible of course (bland music should NOT result in bland writing!).
Some reviewers/critics clearly beg to differ though. In a vain (i.e. narcissistic) attempt to add 'edge' or 'personality' to an article, some hacks feel the need to write a black or white review about something which is decidedly grey. The end results vary from scathing acidic streams of swear-word crammed spite or arse-licking sugar coated statements of sickening, undying love.
There's nothing wrong with loving or hating something but if you have to bend the truth to pretend you actually give a toss either way, surely that results in distorted, unfair reviewing?
The worst cases are when a journalist is so desperate for their review to scream 'look at me' that they actually forget to mention what they are reviewing or offer any insight into it, instead opting for shouting and screaming and swearing at the the top of their voices in an attempt to get themselves a job or at least appear they're as spiky and off the scale as their high maintenance haircuts.
For examples of ranting reviews that don't actually review a thing, look no further than The Fly magazine, which seems to specialise in the art.
So I may have written a hugely negative album review but it genuinely was that shit! In my opinion anyway...
Useless music fact #11: Liam Gallagher's solo effort is set for release by July 2010. So Oasis minus the brains equals what exactly? The man who owes Ian Brown and Tim Burgess thousands in image rights payments has never been known for being 'the creative one has he? This is a useless music fact as all signs seem to point to the fact that the music will indeed be useless. Prove us wrong our kid!
Originally posted on http://blog.ianroullier.com on 30 January 2010.
I've just written my most negative and scathing review ever (click here to read the full review).
While there have been other occasions in the past when I've been critical I've never been this angry, vitriolic and downright negative. Why? Because most music is average, not genre shatteringly brilliant or so awful you want to pour molten lead into your ears. And as a 'critic' its surely my job to write a fair portrayal of an album, single or gig or whatever it is? If it's average, it's down to me to weigh up the pros and cons and sum them up, in as entertaining and colourful a way as possible of course (bland music should NOT result in bland writing!).
Some reviewers/critics clearly beg to differ though. In a vain (i.e. narcissistic) attempt to add 'edge' or 'personality' to an article, some hacks feel the need to write a black or white review about something which is decidedly grey. The end results vary from scathing acidic streams of swear-word crammed spite or arse-licking sugar coated statements of sickening, undying love.
There's nothing wrong with loving or hating something but if you have to bend the truth to pretend you actually give a toss either way, surely that results in distorted, unfair reviewing?
The worst cases are when a journalist is so desperate for their review to scream 'look at me' that they actually forget to mention what they are reviewing or offer any insight into it, instead opting for shouting and screaming and swearing at the the top of their voices in an attempt to get themselves a job or at least appear they're as spiky and off the scale as their high maintenance haircuts.
For examples of ranting reviews that don't actually review a thing, look no further than The Fly magazine, which seems to specialise in the art.
So I may have written a hugely negative album review but it genuinely was that shit! In my opinion anyway...
Useless music fact #11: Liam Gallagher's solo effort is set for release by July 2010. So Oasis minus the brains equals what exactly? The man who owes Ian Brown and Tim Burgess thousands in image rights payments has never been known for being 'the creative one has he? This is a useless music fact as all signs seem to point to the fact that the music will indeed be useless. Prove us wrong our kid!
Originally posted on http://blog.ianroullier.com on 30 January 2010.
Friday, 8 January 2010
End of year dance/electronic charts for 2009
After yesterday's Top 10 albums of the decade, here are my Top 10 dance/electronic albums and Top 20 dance/electronic tracks of 2009 as compiled for Mixmag and included in their end of year charts:
TOP 10 DANCE/ELECTRONIC ALBUMS OF 2009:
1. The Prodigy – Invaders Must Die [Take Me To The Hospital]
2. Deadmau5 – For Lack Of A Better Name [Virgin]
3. Kris Menace – Idiosyncrasies [New State/Compuphonic]
4. Mr Oizo – Lamb’s Anger [Because]
5. King Roc – Chapters [Music Response]
6. Harmonic 313 – When Machines Exceed Human Intelligence [Warp]
7. Echaskech – Shatterproof [Just Music]
8. The Qemists – Join The Q [Ninja Tune]
9. Fever Ray – Fever Ray [Rabid/V2]
10. The Orb – Baghdad Batteries [Malicious Damage]
TOP 20 DANCE/ELECTRONIC TRACKS OF 2009:
1. The Prodigy – Warriors Dance [Take Me To The Hospital]
2. DJ Food – One Man’s Weird Is Another Man’s World [Ninja Tune]
3. Mr Oizo – Positif [Ed Banger]
4. La Roux – In For The Kill (Skream's Let's Get Ravey Mix) [Polydor]
5. Moodymanc – Seedz [Tsuba]
6. The Gossip – Love Long Distance (Fake Blood Remix) [Columbia]
7. Deadmau5 – I Remember [Virgin]
8. diskJokke – Rosenrod [Moshi Moshi Singles Club]
9. Lindstrøm – The Magnificent [Smalltown Supersound]
10. Skream – Burning Up [Digital Soundboy Recording]
11. Buraka Som Sistema – Sound Of Kuduro [Fabric]
12. Röyksopp – Happy Up Here [Wall Of Sound]
13. Calvin Harris – Ready For The Weekend (High Contrast Mix) [Columbia]
14. Moby – Shot In The Back Of The Head [Little Idiot]
15. The Prodigy – Omen [Take Me To The Hospital]
16. Sei A – Chinese Whispers [International Deejay Gigolo]
17. Dizzee Rascal – Bonkers [Dirtee Stank]
18. Smoove & Turrell – Beggarman [Jalapeno]
19. Deadmau5 – Ghosts ‘N’ Stuff [Virgin]
20. Calvin Harris – I’m Not Alone [Columbia]
Originally posted on http://blog.ianroullier.com on 8 January 2010.
TOP 10 DANCE/ELECTRONIC ALBUMS OF 2009:
1. The Prodigy – Invaders Must Die [Take Me To The Hospital]
2. Deadmau5 – For Lack Of A Better Name [Virgin]
3. Kris Menace – Idiosyncrasies [New State/Compuphonic]
4. Mr Oizo – Lamb’s Anger [Because]
5. King Roc – Chapters [Music Response]
6. Harmonic 313 – When Machines Exceed Human Intelligence [Warp]
7. Echaskech – Shatterproof [Just Music]
8. The Qemists – Join The Q [Ninja Tune]
9. Fever Ray – Fever Ray [Rabid/V2]
10. The Orb – Baghdad Batteries [Malicious Damage]
TOP 20 DANCE/ELECTRONIC TRACKS OF 2009:
1. The Prodigy – Warriors Dance [Take Me To The Hospital]
2. DJ Food – One Man’s Weird Is Another Man’s World [Ninja Tune]
3. Mr Oizo – Positif [Ed Banger]
4. La Roux – In For The Kill (Skream's Let's Get Ravey Mix) [Polydor]
5. Moodymanc – Seedz [Tsuba]
6. The Gossip – Love Long Distance (Fake Blood Remix) [Columbia]
7. Deadmau5 – I Remember [Virgin]
8. diskJokke – Rosenrod [Moshi Moshi Singles Club]
9. Lindstrøm – The Magnificent [Smalltown Supersound]
10. Skream – Burning Up [Digital Soundboy Recording]
11. Buraka Som Sistema – Sound Of Kuduro [Fabric]
12. Röyksopp – Happy Up Here [Wall Of Sound]
13. Calvin Harris – Ready For The Weekend (High Contrast Mix) [Columbia]
14. Moby – Shot In The Back Of The Head [Little Idiot]
15. The Prodigy – Omen [Take Me To The Hospital]
16. Sei A – Chinese Whispers [International Deejay Gigolo]
17. Dizzee Rascal – Bonkers [Dirtee Stank]
18. Smoove & Turrell – Beggarman [Jalapeno]
19. Deadmau5 – Ghosts ‘N’ Stuff [Virgin]
20. Calvin Harris – I’m Not Alone [Columbia]
Originally posted on http://blog.ianroullier.com on 8 January 2010.
Thursday, 7 January 2010
Top 10 albums of the decade
A brief break from the talk of dodgy interviewees for a moment for an 'everyone's doing it and, well, so am I actually' end of decade chart. I came up with this list for a website I write for (musicOMH.com pop pickers) and only The Strokes made it through to the final top 21 (see here for that) so here is my two penneth for the best albums from 2000-2009:
TOP TEN ALBUMS OF THE DECADE
1. Chemical Brothers – We Are The Night
2. Klaxons – Myths Of The Near Future
3. Royksopp – Melody AM
4. Justice – Cross
5. Tim Story & Hans Joachim Roedelius – Lunz
6. Saint Germain – Tourist
7. Badly Drawn Boy – The Hour Of Bewilderbeast
8. Black Devil Disco Club – In Dub
9. Boards Of Canada – Geogaddi
10. The Strokes – Is This It?
The problem with things like this is you always remember other albums after you've sent the list off. I would add to this, Daedelus' 'Love To Make Music To' which would come in at around number six, meaning The Strokes wouldn't even have made it! It's a funny old game.
Useless music fact #10: The best selling single of the decade was 'Anything Is Possible'/'Evergreen' by Will Young and the best selling album of the decade was James 'yes my name is cockney rhyming slang' Blunt's 'Back To Bedlam'. Thus proving once again that the record buying public do tend to like a load of old cock.
Originally posted on http://blog.ianroullier.com on 7 January 2010.
TOP TEN ALBUMS OF THE DECADE
1. Chemical Brothers – We Are The Night
2. Klaxons – Myths Of The Near Future
3. Royksopp – Melody AM
4. Justice – Cross
5. Tim Story & Hans Joachim Roedelius – Lunz
6. Saint Germain – Tourist
7. Badly Drawn Boy – The Hour Of Bewilderbeast
8. Black Devil Disco Club – In Dub
9. Boards Of Canada – Geogaddi
10. The Strokes – Is This It?
The problem with things like this is you always remember other albums after you've sent the list off. I would add to this, Daedelus' 'Love To Make Music To' which would come in at around number six, meaning The Strokes wouldn't even have made it! It's a funny old game.
Useless music fact #10: The best selling single of the decade was 'Anything Is Possible'/'Evergreen' by Will Young and the best selling album of the decade was James 'yes my name is cockney rhyming slang' Blunt's 'Back To Bedlam'. Thus proving once again that the record buying public do tend to like a load of old cock.
Originally posted on http://blog.ianroullier.com on 7 January 2010.
Friday, 1 January 2010
You're not worthy!
Firstly, a Happy New Year to you all, I hope 2010 treats you well and your hangovers aren't hanging too heavy on your heads today. As promised, here is the continuation on the topic of difficult interviewees I've encountered along the way...
Another tricky interview was with a certain 'King Of The Breaks' who frankly I'd never heard of before interviewing him. Whether he was just particular or had been bitten one too many times by the media I’m not sure, but he refused to do any phone interviews and any questions had to be run past his manager and vetted.
After some emailing, back and forth and amending of questions, they were then deemed acceptable enough to pass on to the great man himself (whose music had incidentally gone from innovative and original to self indulgent and noodly over the years). Barring one question that wasn’t answered due to its unworthiness, the interview was a success. Job done.
At the time I had a great sense of achievement that I had managed to tread carefully enough to get a decent interview and quotes with someone so difficult/disenchanted with the media and his manager even emailed me to say, “This is the best interview conducted with him." As time has passed though and I’ve spoken to so many amiable, positive, open, helpful and downright friendly artists out there, I’ve gradually come to realise that there is really no need to make communication with another person such a long, protracted struggle. It reeks of self-importance and egotism.
So, yes, it was a challenge, but not one I’d relish again. Anyone out there who wants to be spiky, difficult or ’challenging’ would do well to realise that you are just human beings that happen to make music, however great it may or may not be. You are no greater or less great than the next man or woman, whatever it is you do in life, so get over yourselves!
Useless music fact #9: The Ting Tings were once in a band called Dear Eskiimo. They were influenced by musicals and their output was patchy but enjoyable enough. I interviewed them for a magazine but the article was pulled at the last minute as the editor realised their music wasn't quite up to scratch to feature in the mag or on the cover CD. If you'd care to read the results of the interview however, just have a look here. Incidentally, Ting Ting is a Chinese name that means 'slim and graceful' but is also a slang term for penis!
Originally posted on http://blog.ianroullier.com on 1 January 2010.
Another tricky interview was with a certain 'King Of The Breaks' who frankly I'd never heard of before interviewing him. Whether he was just particular or had been bitten one too many times by the media I’m not sure, but he refused to do any phone interviews and any questions had to be run past his manager and vetted.
After some emailing, back and forth and amending of questions, they were then deemed acceptable enough to pass on to the great man himself (whose music had incidentally gone from innovative and original to self indulgent and noodly over the years). Barring one question that wasn’t answered due to its unworthiness, the interview was a success. Job done.
At the time I had a great sense of achievement that I had managed to tread carefully enough to get a decent interview and quotes with someone so difficult/disenchanted with the media and his manager even emailed me to say, “This is the best interview conducted with him." As time has passed though and I’ve spoken to so many amiable, positive, open, helpful and downright friendly artists out there, I’ve gradually come to realise that there is really no need to make communication with another person such a long, protracted struggle. It reeks of self-importance and egotism.
So, yes, it was a challenge, but not one I’d relish again. Anyone out there who wants to be spiky, difficult or ’challenging’ would do well to realise that you are just human beings that happen to make music, however great it may or may not be. You are no greater or less great than the next man or woman, whatever it is you do in life, so get over yourselves!
Useless music fact #9: The Ting Tings were once in a band called Dear Eskiimo. They were influenced by musicals and their output was patchy but enjoyable enough. I interviewed them for a magazine but the article was pulled at the last minute as the editor realised their music wasn't quite up to scratch to feature in the mag or on the cover CD. If you'd care to read the results of the interview however, just have a look here. Incidentally, Ting Ting is a Chinese name that means 'slim and graceful' but is also a slang term for penis!
Originally posted on http://blog.ianroullier.com on 1 January 2010.
Wednesday, 30 December 2009
Earning the right to be difficult
So, it’s been a while since my last entry – apologies for keeping you hanging and festive cheer to one and all. Here at last is the follow up to the ‘Particular or pretentious?’ entry (see previous entry) about difficult interviewees I’ve encountered over the years.
First there was the minimal US techno act that I was on the verge of interviewing. Setting the interview up was a long protracted process. In the meantime I was sent their music, which frankly was so minimal as to be virtually non-existent. Every track on the album used the same sounds and the 'evolution' of each track involved such minute changes that only the most fanatical techno geek or sound engineer could have picked up on them.
It’s always hard to interview someone whose music doesn’t inspire you but you can still do your job as a journalist and find out what makes them and their music tick. When the editor then told me, "They’re renowned for being a bit difficult," I thought it over long and hard and wondered on what grounds could they afford to be difficult? Their music is bland, directionless and non-eventful! I mean, The Aphex Twin AKA Richard James is renowned for being difficult, contrary and frankly a bit of a shit in interviews but have you heard his music? He's earned the right! I turned down the interview in the end. I am sure they would have sensed I didn’t care much for their music so left the interview for someone that did.
More difficult interviewee stories in a few days time. In the meantime, Happy New Year and a fantastic 2010 to you.
Useless music fact #8: So well done to Rage Against The Machine for grabbing the Christmas Number 1 spot from the evil clutches of Simon Cowell and his (s)hit factory that continues to leave bland, monotonous skidmarks on the collective pants of popular music. For those of you lucky enough to hear RATM's live performance on BBC Radio Five Live, doesn't it make you wonder how stupid people are to think they could ask a band to play a track with the line "Fuck you, I won't do what you tell me" without the 'sweary bit' and expect them to obey orders? They managed four 'fucks' before being faded out. Anyway, the fact... When 'Killing In The Name' was first released in 1993, Bruno Brookes played the completely uncensored version on his Top 40 chart rundown on BBC (again!) Radio One. Is this the first time one band has managed to turn airwaves blue twice? Was Bruno Brookes an anarchist hiding under a fluffy mullet? If this isn't a good enough useless fact for you, Bruno also went out with Anthea Turner for a while, but was cruelly usurped by fellow Radio One DJ Peter Powell as Turner's number one on her wheels of steel. The shame!
Originally posted on http://blog.ianroullier.com on 30 December 2009.
First there was the minimal US techno act that I was on the verge of interviewing. Setting the interview up was a long protracted process. In the meantime I was sent their music, which frankly was so minimal as to be virtually non-existent. Every track on the album used the same sounds and the 'evolution' of each track involved such minute changes that only the most fanatical techno geek or sound engineer could have picked up on them.
It’s always hard to interview someone whose music doesn’t inspire you but you can still do your job as a journalist and find out what makes them and their music tick. When the editor then told me, "They’re renowned for being a bit difficult," I thought it over long and hard and wondered on what grounds could they afford to be difficult? Their music is bland, directionless and non-eventful! I mean, The Aphex Twin AKA Richard James is renowned for being difficult, contrary and frankly a bit of a shit in interviews but have you heard his music? He's earned the right! I turned down the interview in the end. I am sure they would have sensed I didn’t care much for their music so left the interview for someone that did.
More difficult interviewee stories in a few days time. In the meantime, Happy New Year and a fantastic 2010 to you.
Useless music fact #8: So well done to Rage Against The Machine for grabbing the Christmas Number 1 spot from the evil clutches of Simon Cowell and his (s)hit factory that continues to leave bland, monotonous skidmarks on the collective pants of popular music. For those of you lucky enough to hear RATM's live performance on BBC Radio Five Live, doesn't it make you wonder how stupid people are to think they could ask a band to play a track with the line "Fuck you, I won't do what you tell me" without the 'sweary bit' and expect them to obey orders? They managed four 'fucks' before being faded out. Anyway, the fact... When 'Killing In The Name' was first released in 1993, Bruno Brookes played the completely uncensored version on his Top 40 chart rundown on BBC (again!) Radio One. Is this the first time one band has managed to turn airwaves blue twice? Was Bruno Brookes an anarchist hiding under a fluffy mullet? If this isn't a good enough useless fact for you, Bruno also went out with Anthea Turner for a while, but was cruelly usurped by fellow Radio One DJ Peter Powell as Turner's number one on her wheels of steel. The shame!
Originally posted on http://blog.ianroullier.com on 30 December 2009.
Thursday, 5 November 2009
Particular or pretentious?
Writing about electronic music and interviewing artists that produce it seems to be a relatively ego-free experience, thankfully.
Perhaps it's the lack of 'the frontman' who feels the need to assert his authority, attitude or personality at every given opportunity. Maybe it's the fact that electronic musicians are masters of their own sonic universe, creating every sound on their recordings meaning there is less room for paranoia and fear about having to prove themselves the big man (or woman) at every opportunity and giving it some 'rock and roll attitude'.
This is a mass generalisation of course but in all the years I've been writing about music, I've only come across difficult characters on a few occasions. I often do phone interviews on my mobile which involves an audible beep every 30 seconds. I always explain why to the interviewee and apologise for it and all bar one interviewee has been fine with it.
He happened to be the frontman of a long forgotten (and never really remembered in the first place) indie band. "Can't you stop that fucking beeping?!" he said. To which my answer was a simple, "No, sorry." I explained the beep beforehand but it obviously wasn't something he could stomach in his rock and roll world.
Perhaps the beep is more acceptable to electronic artists as they spend their lives creating beeps of their own? Who knows. That's not to say I haven't come across difficult interviewees in dance music however... more of which on my next blog.
Useless music fact(s) #7: Chrissie Hynde of The Pretenders (who was once in a band tastefully called The Moors Murderers with Steve Strange who went on to do vocals for Visage) was once married to Jim Kerr of Simple Minds fame. The very same man who was one of Patsy Kensit's candidates for 'Musical Man Of The Moment I Must Marry' (which has so far taken in Gary Kemp from Spandau Ballet (just a fling), Dan Donovan of Big Audio Dynamite (marriage), Jim Kerr, Liam Gallagher (marriage) and one-time superstar DJ, Jeremy Healy (married)). Jim has kids with both Chrissie and Patsy while Chrissie also has a daughter fathered by Ray Davies of The Kinks. Ray and Chrissie have teamed up again this year on Ray's 'Postcard From London' Christmas song. Patsy is meanwhile hoping to marry someone in music more famous than she's currently married to, probably. Well, it's easy than resurrecting her own pop career.
Originally posted on http://blog.ianroullier.com on 5 November 2009.
Perhaps it's the lack of 'the frontman' who feels the need to assert his authority, attitude or personality at every given opportunity. Maybe it's the fact that electronic musicians are masters of their own sonic universe, creating every sound on their recordings meaning there is less room for paranoia and fear about having to prove themselves the big man (or woman) at every opportunity and giving it some 'rock and roll attitude'.
This is a mass generalisation of course but in all the years I've been writing about music, I've only come across difficult characters on a few occasions. I often do phone interviews on my mobile which involves an audible beep every 30 seconds. I always explain why to the interviewee and apologise for it and all bar one interviewee has been fine with it.
He happened to be the frontman of a long forgotten (and never really remembered in the first place) indie band. "Can't you stop that fucking beeping?!" he said. To which my answer was a simple, "No, sorry." I explained the beep beforehand but it obviously wasn't something he could stomach in his rock and roll world.
Perhaps the beep is more acceptable to electronic artists as they spend their lives creating beeps of their own? Who knows. That's not to say I haven't come across difficult interviewees in dance music however... more of which on my next blog.
Useless music fact(s) #7: Chrissie Hynde of The Pretenders (who was once in a band tastefully called The Moors Murderers with Steve Strange who went on to do vocals for Visage) was once married to Jim Kerr of Simple Minds fame. The very same man who was one of Patsy Kensit's candidates for 'Musical Man Of The Moment I Must Marry' (which has so far taken in Gary Kemp from Spandau Ballet (just a fling), Dan Donovan of Big Audio Dynamite (marriage), Jim Kerr, Liam Gallagher (marriage) and one-time superstar DJ, Jeremy Healy (married)). Jim has kids with both Chrissie and Patsy while Chrissie also has a daughter fathered by Ray Davies of The Kinks. Ray and Chrissie have teamed up again this year on Ray's 'Postcard From London' Christmas song. Patsy is meanwhile hoping to marry someone in music more famous than she's currently married to, probably. Well, it's easy than resurrecting her own pop career.
Originally posted on http://blog.ianroullier.com on 5 November 2009.
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