This week, it's time to turn inward a little – and look at songs written about the music industry. Needless to say, this kind of song is almost always written in a negative light (I can't think of any positive examples – if you can, I'd love to hear from you), and here are ten examples of this very craft. Any other suggestions – this list was a bloody hard one to collate – welcome as always. Read more “Tuesday Ten: 045: Biting The Hand That Feeds”
It has been commented in the past that the majority of my music writing errs on the positive side – which is mainly true. I don't like putting loads of negative reviews online – mainly because I'd rather emphasise the good, and partly because, it appears, some artists don't like hearing bad reviews.
Still, of late I've seen/heard a fair amount of music on the various music channels we have on cable – and I'll be honest, some of it bugs the shit out of me. So, it's time for a rundown of the music that really is pissing me off right now. Alternatively titled, "adam starts shooting fish in a barrel". The usual disclaimer applies in times like these – what I dislike may well be what you love, but that's just the way it goes. Still, this is my opinion, but you'll get your chance in the poll below…
Indeed: not for a while has a track been so aptly titled – at least when you first hear it. The second, third and god-only-knows-how-many-times more just make you want to shout "MAKE IT STOP". Yep, it's another attempt at metal band does acoustic lament. And truly, it's fucking awful. I'll leave the last word on this to Daisy: "Makes Disturbed's new single sound like a work of genius"
Inside The Fire
Speaking of which…fuck, it's like nu-metal never left us. Or perhaps, in Disturbed's own little corner of the world, it never actually has. One thing I have to tip my hat to over Disturbed – they ignore the (lengthy) negative press they get and just keep ploughing their furrow, and still sell shitloads of CDs (at least five million so far of all their material, according to their wiki discography). On the evidence of this new song, though, I'm struggling to see how. Nothing has changed since the first album. Moving on…
Leave Out All the Rest
What is it with these bands left over from the days of nu-metal? At least Linkin Park have evolved a bit, I guess, spreading their wings into collaborations with rap stars, remixes and selling fucktons of CDs. So why are all their singles nowadays so sodding dull, including this one? Flashy video, fuck all substance. How they've apparently sold over 40 million albums is beyond me…
And talking of flashy videos…what do you get if you mix a film star, some high cheekbones, a major label deal and a whole dose of emo angst? Well, going on this lot you appear to get a worthy but unremarkable band who have a vast budget for their videos, and seem to get their videos played every hour. On each fucking channel. Couldn't someone have left them in the Arctic?
Scream Aim Fire
Seemingly being touted as the UK's greatest metal act, however recent single Scream Aim Fire manages to pull off being a rip off of two songs. Judas Priest's Breaking the Law and Machine Head's Davidian. Both of which are legendary tracks. This, however, is not. Their success when so many better (British) metal bands have barely registered on the radar of the likes of Kerrang is utterly mystifying.
Just when you thought that fucking "ironic" single Rockstar couldn't get any more fucking ubiquitous, DFS use it in their latest adverts. It was in the UK Top 40 singles chart for eight months [source], and the music channels simply won't stop fucking playing it. Nickelback are all that is wrong about mainstream rock. Plundering all their musical ideas and images from bands that blazed a trail before them, but without any iota of the charisma or appeal, this cold and calculated approach has seen them sell close to 30 million records. How?
That's Not My Name
The slightly unsavoury wankfest over this lot in the indie press earlier in the year was fun to watch – the latest saviours of music, according to the NME and others. Great – so another singer wanting desperately to be Debbie Harry and singing nonsensical lyrics (I'm half expecting this song, which just seems to be a list of the names that she is called, to be up for an Ivor Novello award or something next) is the best we can get. Some might say it's catchy, but then, so are many diseases. Oh, and what's with the band name? Could nothing better be thought of?
There is just something about Kate Nash that really rubs me up the wrong way. I can't put my finger on what it is – it's probably everything. But in particular, her "mockney" singing voice, the shitty lyrics (altogether now: "…said I must eat so many lemons/cause I am so bit-tah"), the unbelievably twee tunes…
Have I Been A Fool
What is it with these fucking mockneys? Here's another one, who strikes me as the male version of Kate Nash. Not quite so annoying, perhaps, but almost all of his songs – including this one – fade into the background like particularly dull wallpaper, with nothing of merit to say about it. Again, how the NME championed this guy like he was the future…I'm not sure who it makes look worse.
…and rather than a tenth item, I'm going to leave it open to you lot.
The release of new Combichrist material is both a blessing and a curse for an Industrial DJ. The blessing, of course, is that it means that you generally have at least one more sure-fire dancefloor filler, the curse being that it’s only going to get more likely to see yet more Combichrist requests (seriously, folks – don’t bother requesting Combichrist. You are going to get it anyway, how about asking for something that shows a little more thought about your request, perhaps?).
The release of this EP has long been on the cards, but due to issues at the label that were due to release it (Sistinas) that appeared to have sunk any chances of the CD actually being released, the perhaps surprising decision was taken to release it for free (but only for a limited period).
DJing at Devastator was great fun – a reasonable turnout and a fair number of enthusiastic punters made for DJ sets that weren’t as challenging as I had first thought they might be. Although it was interesting to note the differences to the Sheffield crowd, with a marked slant towards Death Metal and Thrash more than anything else. Read more “DJ: Guest: 026: Devastator – 12-July 2008”
I first heard of Arnocorps a while back…I thought that this was a joke band that could never be funny. It turns out that I’ve been missing the fun. I had no real interest in the support bands, however – punk is not my scene whatsoever and so The Hyenas and The Dagobah 4 were not bands I’ll be covering. Read more “Into the Pit: 065: Arnocorps – Live at Corporation Sheffield 11-July 2008”
I listened to a radio show from last week that resulted in the inspiration for this week’s Tuesday Ten. And what was that show? It was Jarvis Cocker’s musical map of Sheffield, which was a fascinating guide through the Sheffield that Jarvis grew up in, and the music he was influenced by along the way – not all of which was Sheffield-based, but the majority was. Read more “Tuesday Ten: 043: Sheffield”
So, onto this week's Tuesday Ten: and with a new month already, it's time for my usual monthly rundown of ten tracks I really quite like right now. Read more “Tuesday Ten: 042: Tracks of the Month (June 2008)”
Taking the long-lived idea of the split EP one step further, Savage Lands crowbars the work of four artists from different areas of the industrial noise landscape onto one long CD – seventy-nine minutes and six seconds worth, in fact.