I’m not totally sold on the idea that bands are necessarily more prolific now than in previous decades, but the point about the death of A&R is something I’ve been thinking about for a while now. I remember reading about Blur bringing Modern Life Is Rubbish to their record company, and David Balfe telling them it was a pile of shit that wouldn’t sell to anyone but ‘a few NME readers’. Initially, that seems like a ridiculous statement given the catchy pop the record was filled with, but the band went back in the studio and ended up recording ‘For Tomorrow’ and ‘Chemical World’. Those are 2 of the catchiest singles on there, so obviously it might have been a lesser record without their inclusion.

I know everyone gets very excited about artistic freedom and the fact that anyone can put their music on the internet these days, but sometimes artistic freedom results in 10 minute jazz dirges about Pop Rocks and Jane Mansfield. And maybe 50 of their fans and a few critics think it’s the best song about Pop Rocks and Jane Mansfield ever, but the other 98% of us are just thinking ‘Where was the guy that’s supposed to tell them this is awful?’.

The concept of filtration aside, A&R folks were also there to help a band further develop their skill set, establish a following and build up a fan base. They were a support system put in place in order to nurture and encourage as well as offer constructive criticism and allow a band the time they needed to refine their music before offering it up to the general public.

With a few rare exceptions, that system no longer exists. As is pointed out in the article, bands are often shoved straight into a studio before they have any time to figure out if they have something to say, and if so, what that something is. And I think this idea of prolificacy might be born of the decreasing focus on artists as a long-term investment. We think we’re getting more music, but maybe we’re just getting more crappy music from people that need a better system of checks & balances before unleashing their art on the world.

As I mentioned, there are exceptions. Polly Scattergood, for instance, was courted and cultivated by Mute for some time before she went anywhere near a studio. And I believe that was a result of Daniel Miller’s belief that she was an artist worth investing in on the long term. Of course, he’s been known for that kind of treatment in the past with artists such as Goldfrapp. But outside of those few exceptions you or I might be able to name off the top of our heads, this kind of A&R has by and far gone extinct. And as a result, maybe artists have lost more than an opportunity for a cash advance or a fancier tour bus.

It was certainly the case with this latest offering from Robyn Hitchcock, another star-studded collaboration from the the man who brought us both The Soft Boys and Robin Hitchcock and the Egyptians. Hitchcock has again assembled the Venus Three of Scott McCaughey, Bill Rieflin and Peter Buck for this slice of psychedelia.

The multi-talented Hitchcock is a real enigma and a kind of personal hero of mine as I feel he is so undervalued by great sections of the public. He is as visionary and leftfield at times, most of this album has a Syd Barrett kind of feel to it. The simplistic arrangements are trance-like on tracks such as ‘John In The Air’ and title track ‘Propeller Time’.

Although he may be under-exposed amongst his peers he is held in reverence. Other artists to feature include John Paul Jones, Johnny Marr and Nick Lowe. Probably my favourite track on the album – ‘Ordinary Millionaire’ – is co-written with Marr and has been subject to repeat listens. When I spoke to Alessi’s Ark recently she cited Robyn as an influence and was thrilled to play live with him. This is a record that grows on you as does most of Robyn’s work. You have to concentrate and take time out to appreciate the delicate complexities and array of sounds built around his vocal. It’s not a record to cook an evening meal to or dip in and out of but then again I am guessing if you are reading this you are not that flippant.

This drops on Sartorial Records March 22nd. Having recently taken part in Graham Coxon’s power acoustic ensemble at the Barbican, Robyn heads out on tour in April.

[See post to listen to audio]
Robyn Hitchock – I Saw Nick Drake

Tracklisting
- Star of Venus
- The Afterlight
- Luckiness
- Ordinary Millionaire
- John in the Air
- Propellor Time
- Primitive
- Sickie Boy
- Born on the Wind
- Evolove

ROBYN HITCHCOCK TOUR DATES

7 Apr Academy 2 Newcastle
8 Apr ABC 2 Glasgow
9 Apr Lemon Tree Aberdeen
11 Apr Club Academy Manchester
12 Apr Academy 2 Liverpool
13 Apr Academy 2 Sheffield
14 Apr Academy 2 Oxford
16 Apr Fleece Bristol
17 Apr The Globe Cardiff
18 Apr Academy 2 Birmingham
19 Apr Komedia Brighton
20 Apr Islington Academy London

http://www.robynhitchcock.com
http://www.myspace.com/robynhitchcock
http://www.myspace.com/sartorialrecords

This year’s performers included The Rural Alberta Advantage, Plants and Animals (pictured above), Great Lake Swimmers and Constantines.

A few of the winners you may want to check out (some I like, some are just plain interesting)…

Galaxie Rising Stars – The Rural Alberta Advantage

Favourite Group/Duo of the year – Constantines

Favourite Solo artist of the year – Joel Plaskett

Favourite live artist – Arkells

Favourite Rock artist/group of the year – Die Mannequin

Favourite electronic artist – Peaches

Favourite Folk artists/group – Great Lake Swimmers

Favourite Punk/Hardcore artist/group of the year – Fucked Up

* Thanks to AUX for the pic.

Mention James and many people only know the big hit “Sit Down”. The problem was it was hijacked by city centre night clubs and drunken testosterone young men on a Saturday night. James have always been a thinking man’s band, a fact not lost on Tony Wilson who offered the band an album deal with Factory. I remember well buying the debut E.P. Jimone, with bold red lettering. One of my favourite tracks by the band, “What’s The World” – later ironically covered by The Smiths – was a soundtrack for late 1983 for me.

Those of you not really aware of the early work of James should check out the first two albums Stutter and Stripmine. I started this post with the intention of reviewing the new mini-album but I feel this background is relevant as James were around way before the Madchester movement took off. Indeed, Stone Roses, Happy Mondays and Inspiral Carpets supported the band on tours in the late 80’s. I was also introduced to Radiohead after seeing them support James in 1993 somewhere, I still have the old tour t-shirt; black with a flower and James in big white letters.

So onto the new mini album…it was with trepidation that I put it into the player. I was scared that it would not live up to my expectations, but I need not of worried. Tim Booth has one of those effortless voices just like McCulloch – he soars and takes me along for the ride. Musically, it is retrospective yet relevant. “Crazy” – which the whole band pick out as a focal point – is just mindblowing. Lyrically, Tim drew the inspiration from his hospitalisation for liver disease, throughout his recovery he has been convinced that his physical frailty (which often produced hallucinations) meant that he was “Crazy”.

Every track has a different tone. “Dr Hellier” is a dark take I guess on Booth’s recovery; lyrically genius, I would love to ask him for an explanation. “Shine” is vintage James circa the Eno-produced “Laid” period of 1993. I could go on and try to give an explanation to every track, though this is potentially the best record I have heard this year. I so want to see them live on this tour, and I am going to do my best to catch some interview time with Tim as well. There is so much I want to ask him about this collection of songs. I have copied and pasted the blurb and release details for the album below.

Titled ‘The Night Before’ the mini album will be released on April 19th and it contains all brand new studio material from the 7 piece band. Produced by Lee ‘Muddy’ Baker (who produced Hey Ma as well as Booth’s solo album Bone in 2004), The Night Before seems fearless in comparison to its predecessors, a product, no doubt, of the way it was conceived: the band set up an ftp site to which they all contributed, downloading and updating each other’s efforts at various intervals whilst Baker knocked things into shape. This “virtual” recording process was inspired by the band’s history of working with Brian Eno and has brought out the best in James, the results proving as diverse and intriguing as anything the band have attempted before.

James step out on tour from Monday 5th April kicking off at The Corn Exchange Edinburgh and finishing up at the very prestigious Royal Albert Hall, London. Larry says: “We are getting to re-visit some venues for the first time in ages, most notably The Royal Albert Hall. They will also be spending the summer playing at many of the world’s biggest festivals, including the recently announced Isle of Wight Festival on the 13th June.

After the UK leg of the tour the band intend to spend five days recording “naturally and playing together in a big room” with no overdubs and with a view to capturing “something spontaneous”. This will make up the second part of the mini album to be released in July 2010 and it will be entitled ‘The Morning After’.

James live dates are:

April 2010
Monday 5 – Edinburgh Corn Exchange (0844 499 9990)
Tuesday 6 – Newcastle O2 Academy (0844 477 2000)
Thursday 8 – Sheffield O2 Academy (0844 477 2000)
Friday 9 – Preston Guildhall (01772  258858)
Saturday 10 – Cambridge Corn Exchange (01223 357 851)
Monday 12 – Southend Cliffs Pavilion (01702 351 135)
Tuesday 13 – Bournemouth O2 Academy (0844 477 2000)
Thursday 15 – Bristol Colston Hall (0117 922 3686)
Friday 16 – London Royal Albert Hall (0207 589 8212)
Saturday 17 – Liverpool University (0151 256 5555)

For all your latest JAMES news & updates, go to http://www.wearejames.com

[See post to listen to audio]
James – What’s The World

I’m teetering on the brink of finding this annoying now (though not enough to not comment on it, obviously!). WHO ARE YOU ALREADY? Pop Justice thinks the mystery Saran Wrapped singer might be Swede Jonna Lee. Never heard of her? Don’t worry, very few have. But apparently iTunes called her ‘The Next Big Thing’ last May. It doesn’t look like she has an album coming out, so I’m not sure if that jives or not.

At this point I think it’s obvious it is not Gaga or Aguilera, which sadly kind of leaves me less interested. I was hoping Xtina had lost her mind and gone weird and arty. I still can’t wait to hear those 3 Ladytron collaborations on her new album, though it’s too bad she’s not sharing vocal duties with the ladies of Ladytron. Still, maybe she’ll tour to support Bionic and invite Ladytron as the openers. Hey, a guy can dream, can’t he?

I’ve really been struggling with my inbox this month. I finally went back and deleted everything dated prior to November, as I realized there was absolutely no way I was ever going to get to any of it. So apologies to any bands that might have reached out to me pre-November, I’m afraid I had to delete your totally awesome new song that everyone says is like a cross between Wilson Phillips, Chuck Berry and Pnau. It sounds wicked but I’m only one man, mmkay?

As I performed this inbox purge, I came across an mp3 I’ve been meaning to post for ages but my tiny brain obviously misfiled this information, and as a result I never put it up. Silly brain!

[See post to listen to audio]
Nice Weekend – Longest Days

This is some super fabulous shoegaze goodness from a band called Nice Weekend, which seems like a totally appropriate name since I’d consider this song as the musical equivalent of telling someone to have a nice weekend. It’s noisy & scratchy and the lyrics are mostly indecipherable, but it’s also really warm and inviting. This was recorded on an old 8 track, but I’m told they will record a ‘proper’ version at some point in the future. If I’m being totally honest, I’m not sure it needs re-recording. I’m no lofi/glofi/chillwave fanatic, but I do think a few pops and hisses tend to work for this kind of music. I’ll be keeping an ear out for them either way.

BIYL caught up with with the much vaunted Local Natives before their recent sell out Norwich Art Centre gig. Ryan and Matt gave us an insight into what makes the band tick:

Mark: Hi guys! Welcome to Norwich. I was going to start off with something a little lighthearted about beards. Then I get you guys with no beards, It kind of annoys me in a way, I always feel that people should listen to music with no pre-conceived ideas.

Matt: I like that a lot

Ryan: I wish

Mark: You know what I mean, they go beards Fleet Foxes etc., etc.,which although there are those bits and pieces there is a lot more to your music than that but I guess that’s not really a question. Yet again I am saying far too much.

(much laughter from everyone including my wife who said she had the same problem at home)

Mark: Okay, okay, so I was going to ask you about how you do everything together as a band.

Ryan: Yeah, yeah, sure I mean the first experiment was when we all moved in together about a year and a half ago and decided to really try to write an album. We had some songs that had been millling about but being together in a house really helped us to focus a lot more. I mean we literally got in touch with blogs and shouted out ideas up and down the hall. It’s a pretty unique experience you know, to work and live with the same bunch of guys but it really works for us.

Mark: So that’s in Silver Lake, didn’t you guys live together in Orange County and you named the house Gorilla Manor, therefore inspiring the album title?

Ryan: Yeah, yeah that’s right!

Mark: So then you went to SXSW driving for nine hours, bear with me I guess you have been asked a hundred times about that. My twist on that is why do you think that the UK caught onto your music before the USA?

Matt: It was literally just because of SXSW. We went there with no management just to promote ourselves, and we took all these five song E.P’s with us. I mean we had never been before so we didn’t know what to expect really. It’s pretty chaotic with all these hundreds of bands trying to promote themselves – daunting in fact. You kind of wonder if you are going to get lost in the shuffle. I think there were a couple of industry people from the UK who had heard of the band from blogs, then by the time we got to the ninth show there seemed like a real buzz from people overseas for the band. It kind of snowballed from there and it seems from our experience that things move along faster over here than in the States. You know it was only a few months later and we were playing our first London show.

Mark: Yeah, seems that way to me as well. Apart from the fact we are a small island things seem to move pretty fast when there is a buzz band over here. You know most people in the industry know each other and pass stuff around.

Mark: You know everyone kind of always mentions the obvious songs from the album like ‘Sun Hands’ and ‘Airplane’ but what are the oldest songs from the album?

Ryan: ‘Sun Hands’ is for sure the oldest song we have, that’s been kicking around for like three or four years. We wrote that right when Matt joined the band. Second oldest is probably ‘Camera Talk’, then there is a whole bunch we have written pretty recently like ‘Wide Eyes’, ‘Shape Shifter’.

Mark: See now listening to the album more and more coming to the fore are tracks like ‘Shape Shifter Sticky Thread’ and in particular ‘Stranger Things’. There seems to be a slightly darker side to that track, would you say that’s a fair reflection?

Matt: I think that’s fair.

Ryan: I think a lot of our songs have an ambiguous quality to them, you know different layers. Some of it can be as you say dark and introspective. I’m really proud that the album can give different feelings and emotions.

Mark: There is a real cross-genre feel to the music as we have referenced Fleet Foxes for the three part harmonies as well as Vampire Weekend and Arcade Fire. The more I listen though I am feeling a little bit Band Of Horses, then it struck me the other day that you remind me of Broken Social Scene a lot. What do you think?

Matt: You know I think I can speak for the band as a whole that we all like Broken Social Scene, you know they were a definite reference point for me as a drummer and I appreciate that you should pick up on it.

Mark: The rhythmic side of things is definitly a big part of your music. Does that come out off everything being a kind of communal thing, that you are not just the guy who sits at the back?

Matt: I think so, you know we have three or four singers at any one given time. You know we have all been known to interchange and jump on the drums, like you say the whole thing is very much a group effort.

Mark: Yeah, I saw The Duke And The King a while back and they interchange instruments and lead vocals, it makes for a real vibe to a live show.

Ryan: It’s fun for us to swap instruments and it keeps things interesting so we enjoy it.

Mark: So the album has gone crazy since the release date in the States, how does it feel to be over here right now?

Ryan: Kind of bittersweet, we wanna get back and support it over there but we are having a great time over here as well.

Mark: This is your first headline tour of the UK. How much different does it feel to the NME Radar Tour last year?

Ryan: It’s all a little crazy, we are playing to sold out venues all over. We are like ‘Are you kidding?!’ when we see people jumping around and getting into our music. That’s what it is all about for us and it means a lot that people are enjoying what we are doing.

Matt: Like last night we met a couple of people in York who said that they saw us on the NME tour and were blown away by our music. I feel that is really important and feels special that people are feeling this record in this way, you know I just want to thank people for coming.

Mark: Bands always say to me that it’s a great feeling when you first see the crowd singing your songs back at you.

Ryan: I just thought it was Kelcey singing off key to start with then I looked over and people in the front row were singing really loud!

Mark: I will try not to do that tonight then!

Ryan: No, the more the better!

Mark: I see you are coming back to the UK in June, does that mean we will be getting more than just the London show?

Ryan: I hope so, we are looking to do festivals this summer, but they are all to be confirmed as we speak.

Mark: That takes care of the summer, so are you going to be back into the studio any time this year?

Ryan: You know people are asking us about the second album but we are really focused on this one right now. It was kind of a rush release over here so you guys have been living with it longer than other places. I mean it’s only like a week or so since the stateside release.

Matt: Plus we are trying to get to grips with the whole writing on the road thing. We wrote the whole album stationary at home and now we are on the road all the time. We have bits and pieces floating around but it is hard to find the time to put them together. We are learning as we go.

Mark: One final question: are there any bands from Silver Lake we should be looking out for? I know it is a real hotbed for the arts.

Ryan: Yes, Vauxhall, Broadcast, Henry Clay People, Warpaint (they mentioned some more but I can’t pick them up from the recording, so sorry guys)

Matt: There are also some bands from Orange County, The Union Line who are really good friends of ours and another band called Aushula who we used to live next door to. We became really good friends with those guys.

Ryan: Oh and Pepper Rabbit…there are more you know but then your mind goes blank.

Mark: Yes mine does frequently when I am interviewing people or people ask me about bands to look out for I always think, ‘Shit I forgot those guys!’.

Ryan: Yeah, I know the feeling.

Mark: Anyway guys I am going to wrap this now so you can go and eat, relax, whatever you do before a show.

Ryan: I am probably going to take a nap to be honest! Before I go can I ask you a question?

Mark: For sure fire away!

Ryan: Does the name Battery In Your Leg come from the Blur song? I have been waiting to ask you that since I first saw the site!

Mark: Wow Sean will be impressed! It does and it is a long story from when we wrote elsewhere on the web.

Ryan: Cool that’s one of my favourite albums and tracks. I am a massive Blur fan!

Mark: Well guys it has been a pleasure to meet you and thanks for taking the time out to speak with us and read the blog!

Ryan: It’s a cool site and thank you!

[See post to listen to audio]
Local Natives – Sun Hands

The second track I have clearance for is a real slice of 60’s-influenced soul, I fell in love with its strings and all the first spin. This is everything and more I would hope for from a Weller song; at times simplistic and at others with full blown Spector style production. I look forward to hearing the album version of this entitled “No Tears To Cry”. I have to take my hat off to Leo Zero for this stunning remix. This is right up there with the best of Atlantic or Stax Northern Soul floor fillers for me and I know a bit about these things!

Even more interesting is the fact that one Mr. Bruce Foxton has played bass on two of the album tracks. In fact, collaborations seem to be the order of the day with Kevin Shields (My Bloody Valentine) and The Moves Bev Bevan making guest appearances. Then throw in the legendary session drummer Clem Cattini for good measure!

This drops on April 19th (Island Records). I look forward to reviewing the the full package soon. Preceding this these two tracks are released as a double A-side single on April 12th.

[See post to listen to audio]
Paul Weller – Wake Up The Nation (Zinc Remix)

[See post to listen to audio]
Paul Weller – No Tears To Cry (Leo Zero Remix)

Who would have thought we’d one day have a biopic on The Runaways starring the little girls from Panic Room and I Am Sam? Stewart & Fanning are really looking the part, now we just have to wait and see if they can act it, too.

[See post to listen to audio]
The Runaways – Cherry Bomb

[See post to listen to audio]
Joan Jett – Crimson & Clover (Tommy James Cover)

Just a quick post today! MGMT have announced the UK release date for new album Congratulations, dropping April 12th.

As the first teaser from the new album the band are giving away a free mp3 of new track ‘Flash Delirium’ at www.whoismgmt.com. Or if you don’t fancy heading over to the site – which is pretty cool – I have attached it below.

One of 2010’s most eagerly anticipated new releases, Congratulations is the successor to MGMT’s Oracular Spectacular, the 2008 debut album which established the band’s potential as a visionary force in pop music.

Congratulations is a collection of nine individual musical tours de force sequenced to flow with sonic and thematic coherence:  “It’s Working,” “Song for Dan Treacy,” “Someone’s Missing,” “Flash Delirium,” “I Found a Whistle,” “Siberian Breaks,” “Brian Eno,” “Lady Dada’s Nightmare,” and “Congratulations.”

Produced by MGMT and Sonic Boom (Spacemen 3, E.A.R., Spectrum), Congratulations was recorded throughout 2009 in upstate New York, Malibu, and Brooklyn and features Andrew Vanwyngarden and Ben Goldwasser, MGMT’s core duo, performing with Matt Asti (bass, backing vocals), Will Berman (drums, backing vocals), and James Richardson (guitar, backing vocals), the band’s live line-up.

Congratulations offered MGMT the opportunity to work with a couple of their musical idols and influences including album co-producer Sonic Boom (Pete Kember) and Royal Trux front-woman Jennifer Herrema, who contributed guest vocals.  “We’ve been lucky enough to meet and work with some of our all-time musical heroes,” Andrew says, marveling at MGMT’s good collaborative karma.  “It’s so great to be around such amazing and unusual musical minds.”

Ben and Andrew first met the mythic Sonic Boom (Spacemen 3, E.A.R., Spectrum) at a Spectrum show in London in February 2009 and wound up onstage jamming with the band on “Suicide,” a vintage Spacemen 3 track paying homage to another light in MGMT’s musical pantheon.

[See post to listen to audio]
MGMT – Flash Delirium