Music Towers version 1.1

Interview: Dan Le Sac & Scroobius Pip

Hugh Platt — Tue, 29 Jul 2008 14:45:48 +0000

While we’re sitting down at one of the many tables in the guest area, Music Towers’ interview with Dan Le Sac and Scroobius Pip keeps getting interrupted by a seeming never-ending stream of small children asking Scroobius Pip to pose for photos. Perhaps it is his – and I speak as a connoisseur of facial grooming – magnificent beard that makes him so easy to spot.

“The beard is seeming to make a comeback,” Scroobius looks up from the pad he is scrawling on for the little girl asking for an autograph. “It’s got to be done. I feel the greatest facial hair tragedy is Hitler. No-one can wear that moustache now. I don’t know if anyone did beforehand, but you don’t see that about now at all. He’s ruined that for all facial-hair people now.” But oddly enough, Stalin’s beard is still acceptable, and he killed just as many people.

The duo have relaxing after bringing their unique marriage of Scroobius Pip’s spoken word delivery and Dan Le Sac’s laptop-based production to the Dance stage, and blowing the roof off with their tactical musical nuclear strike on pseuds and idiots, ‘Thou Shalt Always Kill’. It’s a towering monster of track that could’ve over-shadowed a lesser act.

“I hate it when bands get too precious over songs. We get a good reaction from it, which is really pleasing, so I’m perfectly happy to keep a banging tune in there.” Scroobius reflect. “We like to get some variation in there, and if it does become a continuing thing, it’s one that we can easily change and update. It could develop with us quite comfortably.”

“We’re quite lucky that the reaction for the next single has been so good. In a less novelty way, in a more serious way.” adds Dan Le Sac. “It’s nice that we can have ‘Thou Shalt…’ there as this calling card, but it’s backed up by other things. When we released it as a download we made sure people could also download ‘Angles’, which is as far from ‘Thou Shalt…’ as you can get. It’s about a kid killing himself.”

‘Thou Shalt Always Kill’, for those of you who have somehow not managed to hear it, is a series of new commandments for the modern music fan. Most of them are self-explanatory (Thou Shall Not Read NME, Thou Shall Not Buy Nestle Products), but there was always one that confused us: “Thou shall spell the word phoenix P-H-E-O-N-I-X, not P-H-O-E-N-I-X, regardless of what the Oxford English Dictionary tells you”.

“I’ve had sleepless nights over it – it annoys me. I genuinely have. The English language likes to bastardise Latin and most other languages, which is cool, but if we’re gonna change stuff a bit, let’s change it to how it sounds when we spell it and say it? Why spell it foe-ee-nix? Or say it as foe-ee-nix, don’t say fee-nix, say foe-ee-nix.”

“Why isn’t it F-E-N-I-X?” Dan Le Sac interrupts.

“Because that would be Fenn-ix. I like to spell things how I want to. ‘The Scroobious Pip’, the poem, is spelt different from how I spell it. [Edward Lear] spells it I-O-U-S, I spell it I-U-S. I’m a bit of a stickler for spelling things how I want. Development of language, I call it.”

So are there any other words that annoy Scroobius? “I’ve been so focused on phoenix for so long, it’s hard to think of any others. I want to get that one sorted out first, and then we’ll move on.”

During their performance earlier, the band mentioned they had just been booked to support hip-hop legend, Rakim. “We’re doing a gig with Rakim! That’s what it’s all about, really. Getting to do stuff like that.” There’s a sense of excitement churning around inside Scroobius, which manifests through a grin that shines out of his beard like pearls stuck in seaweed.

“In Dublin, of all places. Second time we’re going to Dublin and we’re supporting Rakim . Ages and ages and ages ago, we did an interview for a magazine out there called Foggy Notions, and they do promotions as well. They booked us for Electric Picnic, next weekend. It’s probably the biggest festival in Ireland; Bjork’s playing, we’re playing – it’s that sort of scale” Dan’s cheeky laugh sums up his persona perfectly – ever so slightly amazed to be where he is, but in no way being awed or taking it too serious. And in addition to Rakim, the pair are lined up to support Gogol Bordello in London come November.

“Once our headlining tour is over, we’re then just really concentrating on the album, so we’re only taking good support slots for a bit so we don’t gig as much for a while.” Yes, the album, we were getting round to that.

“The problem we have at the moment is we keep writing and then it gets better,” Dan sighs. “ We’ve got three in the pipeline that are stronger than things that would’ve gone on the album. We’re going to stop writing in the next month or so because if we keep on like this we’ll never release it. You only get to release your first album once, so it’s gotta be good. You can’t let people down and release your cack.” So have they cleared the Dizzee Rascal sample for ‘Fixed’, their UK-Hip hop-baiting track of contempt?

“He didn’t clear the Billy Squires track that he sampled so I dunno why we should. But it’s one of those tracks that we’ll clear what we need to clear if we decide to put it on the album. We’ve got quite a lot of bangers stashed away,” he says, tapping his nose conspiratorially.

“I’ve always seen it as a possible as a live b-side. We might sling it out as a free download and not have it on the album,” Scroobius shrugs. “It goes down well at the moment – and it’s not having a go at Dizzee Rascal, as we try to make clear as often as possible.” He makes a big show of banging the table with his palm to emphasise this point.

“When I walked passed him yesterday he didn’t hit me, which is a good sign.”

Moving away from whether or not they’re marked for death by Rascal, why did the pair settle on their unusual stage names?

“It’s taken from an Edward Lear poem, called “The Scroobious Pip”. It’s about a little creature that wakes up in the jungle and doesn’t know what it is, and it goes with the lions for a bit, but it’s not a lion, so it goes with the insects, and so on and so forth. And in the end it decides it doesn’t have to go into any of those categories, it can just be The Scroobious Pip. So that’s where I nicked that from. It’s not just a silly name. Obviously, it is a silly name, but not just a silly name,” he says as he switches his attention from the tape recorder to his musical partner in crime. “And yours [indicating Dan], is about testicles, isn’t it?”

“Yeah. Basically. I’m Dan The Bag. That’s my name. There’s not really an explanation to be had.” That’s a good enough reason in Music Towers’ book. “If I was in France and actually in a bag, I‘d be Dan Dans Le Sac, which isn’t bad either.”

The way the pair bounce off each other, interrupt the other in the middle of speaking, and generally correct, contradict and tease each other, they must’ve been finishing each others sentences for years.

“We’d known each other donkey’s years, lived in the same town, worked in the same shops, that sort of thing. It weren’t until June last year, when I did a couple of remixes from [Scroobius Pip’s] solo album, and then it seemed to be working. People seemed to be receptive of what I was doing to what he was doing, so we just wrote together and it seems to have exploded. It’s popped, really.”

“It’s been an amazing reaction,” Scroobius takes over. “It’s shedding more light on an already hugely popular and very strong spoken word scene in the UK, so it’s good that it’s having that effect. It was surprising, but a very welcome surprise. It proves there are more people listening.”

“A lot of festivals this year have done spoken word tents and it’s been great.” As soon as he’s said it, the name that simultaneously pops onto everyone present’s lips is Latitude.

“Awesome. I spent the whole time in the poetry tent. Polar Bear and David J, and a few others just blew me away – absolutely amazing.”

Scroobius Pip and Dan Le Sac aren’t the only act incorporating spoken-word into their work. Reverend & The Makers, playing on the Carling stage, incorporated spoken word pieces between their songs, and have done loads of stuff with John Cooper Clarke as well.

“Eddie Temple-Morris [XFM’s minmaster extraordinaire] has said that the two best lyricists in music today are Scroobius Pip and [John McClure] of Reverend and The Makers. I tried to see him on Friday at Reading but they’d swapped slots with Cajun Dance Party – fucking had to sit through Cajun Dance Party [shaking his head in disgust] – no, no, it was alright, it was…pleasant.”

The expression on Dan Le Sac’s face tells us that the Cajun Dance Party experience was actually anything but pleasant.

And so to the WigDogs: like every other act Music Towers has interviewed this weekend, can they describe them in ten words or less? Apparently not, as Scroobius Pip, man of words, seems unable to do anything except stare at the picture with wide-eyes and giggle.

“I am literally speechless. That’s amazing. It’s the future of canine fashion.”

The pair are giggling and smiling, clearly pleased as punch that everything is going so swell. They’ve achieved what so few people thought they’d be able to do, and escape being just a one-hit wonder with the mantra-manifesto of ‘Thou Shalt Always Kill’. With new single, ‘The Beat That My Heart Skipped’ getting warmly received by everywhere they play,

But we’ve got last question, after the tour, after all that, after everything’s been said and done – give people one more commandment in the ‘Thou Shalt…’ manner, what would it be?

“Thou shalt…buy our album. If that’s all said and done, and that’s all we’re ever gonna do, let’s do it, let’s make some money!”

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Interview: Rosie & The Goldbug - the dark side of pop music

Hugh Platt — Sun, 27 Jul 2008 00:00:00 +0000

“Back then we were very piano-orientated. We’re now more bass-and-drum-orientated,” says Rosie Vanier, she of the band’s name. She’s talking about when Music Towers first encountered her band, when they were the only real shining star at a lamentable corporate battle of the bands-type affair, where Music Towers described their performance as “vaudeville brand of gothic ephemera as a more than welcome change from the indie-boys-with-haircuts-and-guitars”.

“It’s a lot more focused around Pixie and Plums being in the band, with the piano riffs floating on top,” Rosie explains. “I was very restricted with the piano and it was a little bit boring - we realised we had to make an adjustment with the instrumentation. It’s a lot more ballsy and feisty, before it was quite melodic, and we were going for that really epic sound, whereas now it’s all about vibe and having a good time.”

Completed by drummer Sarah ‘Plums’ Morgan and Lee ‘Pixie’ Matthews, Rosie & The Goldbug formed in Cornwall, and along with pasties and Straw Dogs, they’re set to be the next thing to come out of the toecap of Britain that will get people talking. “ Cornwall is a beautiful place and there’s a lot of music going on down here, but it’s very different to London. London you can hop on the bus all the time, whereas down here you’ve got a little bit more time to explore and create your own thing and anything can happen. There’s a lot to be inspired by.

“It’s hard to say it without sounding derogatory, but I guess its sometimes a little bit ‘behind the times’ here,” Vanier mulls. “You make up whatever you want instead going with what’s ‘hot’. There’s a lot more freedom and a lot less restrictions.”

The promo video for ‘War Of The Roses (Because You Said So)’:

That experience has led to a series of songs that range from the dark-disco stomp of ’Heartbreak’ through to fragile ‘Springtime Dreaming’. If Katie Jane Garside stopped chasing garden sprites to front Dragonette for a night, then it could’ve resulted in the ‘War Of The Roses EP. But this hasn’t meant they haven’t taken a cosmopolitan approach to songwriters.

“My instant reaction was to think ‘oh no, I don’t want to write with anyone’ because I was really precious about my song-writing,” Rosie sighs. “Then I thought \this is ridiculous – I’ve got the opportunity to work with some people I really admire’.” And it’s true – the list of people who’ve come on board to help pen songs is admirable indeed. “Before I knew it, I was writing with Marcella Detroit – I was an absolute Shakespeare’s Sister fan when I was younger, so that was a bit of a dream come true, writing with her. Jim [Eliot]from Kish Mauve [writer of ‘2 Hearts’ – Kylie Minogue’s top 5 hit] – he’s a bit of a wizard. I wrote with Pär Wiksten as well, from The Wannadies, which was a great experience.”

As well as playing a host of festivals over the summer (culminating with an appearance on the BBC Introducing stage at Bestival), the band have a London residency of sorts lined up. While glossy chart-botherers like Duffy might prefer the Piccadilly gloss of the Pigalle for such things, Rosie and The Goldbug have gone for the 12 Bar Club in Soho – it’s a “unique” venue, that’s for sure…

Rosie laughs at the description. Music Towers strongest memories of the 12 Bar involve cheering along a fight in the alleyway behind the venue after a misguided whiskey-drinking competition that ran into the wee hours. “The 12 Bar has really inspired us – because it is really smelly and rancid in there. We were changing in the toilets for a gig there once and we were thinking ‘for fuck’s sake; it can’t get any worse than this’ as it basically stank of shit.

The promo video for ‘Feeling’:

“We thought it was a perfect concept for our album – this is what we’ve experienced for the last year - an absolute weird experience of going from revolting venues to being in flash record company offices.

“As the 12 Bar is important to us, and we thought it would be a good place to do a residency and show what we’ve got. Not many people know us yet, and we’re willing to start wherever to get people to know who we are. The 12 Bar represents everything – it’s such a cranky little venue with such a tiny stage and I love performing in strange spaces. There’s lots of beams to climb over. It’s very unique.”

That sounds a lot like fightin’ talk. Rosie & The Goldbug don’t have anything to prove, but Vanier sure sounds like she’s got gusto. “I don’t like that Marmite thing. The whole ‘you either hate it or you don’t’ thing confuses me because maybe sometimes you like it a little bit, and then sometimes not. It’s not as simple as black and white.”

‘War Of The Roses (Because You Said So)’ by Rosie And The Goldbug is out now on Lover Records. The band is midway through their residency at the 12 Bar Club – click here for more details.

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Bag O Singles

David Harrison — Thu, 24 Jul 2008 10:18:07 +0000

CDs build up on the kitchen table until I can find a time to ignore all those people who pay me to work. In a desperate attempt to find something new and exciting for Beef Warehouse’s set at Latitude here are the kitchen table files.

Nelson – You Can’t Stop
Saw these guys at the ICA last week. I was wondering why these good looking posers weren’t hounded out of town. Upon realising it was a French band I understood why the pint size poser was cool. On the strength of that bought the single: BORING indie stabby schmindie. Try again Nelson, there were really good tracks there, alas this isn’t one of them.

The Shortwave Set – Now Til ‘69
For some reason I assume the Shortwave set are to be Indie and ignore the bleeder first time round. Then a rare glance at the accompanying blurb reads ‘produced by DangerMouse’, ‘Swirling Psychedelic’. Ooh pops in the player.

Not psychedelic, not swirling, not produced with any particular quirk some bleeps in the background. Oh bugger pass me the Peter Bjorn and John album and lets slot this track in there as another album filler.

Get Well Soon – If This Hat Is Missing – I Have Gone Hunting
This record is built with the right amount of British cynical humour that is proper for a band. The vocalists are a pleasant surprise giving us a ‘Shoot Baby, Shoot Baby’ in the background. The cavelike growl (as in Nick not Man) of the vocals are hard to hear. It isn’t breaking moulds but it isn’t exactly ruining them either, that was a rubbish on the shelf kind of comment.

Wired Desire – Barely Illegal
What do we think of bands trying to invoke the great god classic hard rock? Airbourne do quite well although when AC/DC turn up next year not sure anyone will remember. Nobody dare mentions The Darkness and their flash in the pan. Def Leppard hasn’t always been the stadium tour they are doing with Whitesnake. The Datsuns where the darlings of a month way back in 02. Then you have these cats Wired Desire. First Track: GnRish Second Track to Third Track AC/DC in short it is barely credible.

The Levellers – Before the End
Thursday at Glastonbury I must have been asked 20 times if I was going to see the Levellers. Maybe only in mediawank London we don’t care about the Levellers and are we totally wrong? Yes. Before the End is a beautifully tender track. Very Touching.. In fact it seems to be a love song. If you didn’t like the Levellers before you probably still won’t but are you sure it is because of them?

Solange – I Decided
Sweet saccharin pop this isn’t aimed at me I can sense… The jinky Jangly piano is almost madness like with a disco stomp underneath. Pharrel Williams written apparently, she is a Knowles it is all top level US pop family at work, made for writhing around on MTV. X factor vocals that sometimes feel a bit tuned sit over the top of by no means classic pop song. Not offensive but not much of anything, will probably sell in its millions.

The Music – The Spike
Remember watching The Music at Homelands a few years on the trot wondering what the fuss was about. Years on their dance rock seems as stoic as it did then. Haven’t they been listening to music in the last few years? That Justice album, the intensity of the Unkle album. I have a funny feeling they didn’t. If anyone wants below par nineties sounding indie dance crossover you can have it.

Bloc Party - Mecury
By far the record of the week. Love the intro bit weird and easy to mix, when the tune kicks in it is almost keyless, this is a good thing. Bit of a move from previous stuff, but then that is ace as well as can’t say got Bloc Party. This went down a stormer at Latitude last week. Turning right everywhere The Music track goes wrong, this is the indie rock dance crossover for 2008 and definately not Indie landfill.

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Interview: Simian Mobile Disco - a duo in demand

Hugh Platt — Wed, 23 Jul 2008 15:03:04 +0000

“I saw a few reviews of the records that were all ‘after all the hype …blah blah blah’ – what?” James Ford splurts incredulously. “The press created the fucking hype themselves!”

Ford is talking about The Age of the Understatement, debut record from The Last Shadow Puppets, which he both produced and played drums for. Ford is very much the indie producer of the moment, having taken production duties on Klaxons’ Mercury-winning Myths of the Near Future and Arctic Monkeys’ Favourite Worst Nightmare among others. Now he sounds like he is having trouble in not spitting his lunch out when I ask him about his reaction to the press hysteria over The Last Shadow Puppets record, which he both produced and played drums on.

“I suppose I was a bit naïve, because I supposed anything Alex [Turner, of Arctic Monkeys] touches would cause people to talk about it, but really when we recorded it, it was just like a two-week holiday where we were trying to record an EP,” he recollects. “The original intention was for it just to come out quietly. But I don’t think Domino pushed it too hard – off the back of the Arctics, it was never going to be a quiet affair”.

‘Quiet’ isn’t really one of the things one associates with Ford, or his cohort Jas Shaw with whom he forms electro-devil duo, Simian Mobile Disco. Come August, the pair are set to become the latest act to put out a mix for London über-club, Fabric (it exists somewhere far in excess of what used to be called superclubs) as part of the Fabriclive series.

The promo video for ‘Hustler’:

“We wanted it to be a set that we’d play at Fabric. It’s pretty techno and pretty mean in places”, says Ford. “But we also wanted to try to put stuff that you wouldn’t normally hear at Fabric in there. There’s Raymond Scott and Moon Dog and things like that. But hopefully we’ve put it together in a way that wouldn’t break someone’s stride on the dancefloor, but people will be exposed to a few tracks they wouldn’t normally hear in that context.”

So they weren’t tempted to push something controversial then? There was more than a bit of controversy with Justice’s allegedly ‘rejected’ Fabriclive mix. Ford seems pragmatic on the issue unmoved: “If we were doing a Late Night Tales or something to listen to at home, that’s one thing, but we wanted to do a good reproduction of our DJ set at this point in time”

In addition to the Fabriclive release, Simian Mobile Disco have a packed summer of DJ slots and live performances on the European festival circuit. The pair are hard-picked to come to a decision over which they prefer.

“ Well, our DJ set is really easy,” Jas states matter-of-factly. “You just pick up a big bag of records and just head to the club! With the live show, it’s a lot more involved.” He goes on to describe SMD’s setup: “We’ve designed this system – a fair chunk out of our studio, a mixer and lots of old analogue gear and loads of vintage output and guitar pedals and lots of kind of stuff all plugged in together. It allows us to play the tracks but jump around in terms of the structure and improvise. We can make new stuff up on the spot and there are quite a few bits of the set where we have no idea what’s going to happen.”

For many musicians, that sounds like the idea of a hell. Or Jazz. “The whole idea is to make it fun for us,” explains Jas. “But it’s quite a pain in the arse. We’ve got loads of fragile kit that always takes too long to set up, but it’s worth it in the end.”

The promo video for ‘I Believe’:

“We have sections in the set where there’s planned chaos,” adds Ford. “We don’t know what’s going to happen. Basically we can tell pretty quickly if it’s ‘happening’ or if it’s not, and we can skip over it or extend it on the go.”

“ Because we put so into the live show, it’s more rewarding when we do a really good show,” says Ford, weighing up the pros and con’s of live show vs DJ set. “But I wouldn’t want to give up DJ’ing as it’s a lot of fun – you can just go to a lot more far-reach places, you get treated really nice and you can get hammered! Which is more fun in a traditional sense…”

James and Jack’s Essential Records

We asked the duo what records they couldn’t do without when DJ’ing. Their choices were:

‘Erotic Discourse’ - Paul Woolford presents Bobby Peru
Spastik’ - Plastikman
‘Huncut Hacuka’ - Fine Cut Bodies
The Don’ - Sisters of Transistors
Sleep Deprivation (Simon Baker Remix)’ - Simian Mobile Disco

All of which are on their shiny new Fabriclive mix. Which is handy.

‘FABRICLIVE 41: Simian Mobile Disco’ is out on Fabric Records in August. The pair are playing festivals all over Europe this Summer – check here to see if they’re playing at one you’re going to.

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Taking Stock of Glastonbury

David Harrison — Sun, 29 Jun 2008 15:12:29 +0000

Lets take stock of the 5 days in that Beavis’ guys field this week:

Found

Some new friends
One orange torch
One big smelly but well fitting coat
A Tent (there were a few available)
Someone called Shuan gave me £60 to buy/steal my megaphone then buggered off without it.
Someone gave me £50 for helping them up on stage

Lost or Stolen

One Bakerlight Handset that had been rewired as a headphone for mixing made by my missus she is very very angry about it.
One Mini-KP Kaospad a bunch of leeds and rechargeable batteries
Maybe a very tasty bunch of CD’s (not sure yet, a bit too scared to look)
One hat with horns like the devil or a cow
One set of oversize shades I bought on holiday
Dignity on Dancefloor

This is the reason why I didn’t want to go - it costs so much to go to Glastonbury, both personally and financially. In time effort, hard cash, and your best party kit that gets stolen. I always end up losing out. If you found the retro phone handset/kaospad or CD’s, please get in touch will give you hard cash.

TOP ACTS

Manu Chao
Where have you been all my life, we wanted ‘Bongo Bong’ though.
Black Mountain
Ah someone booked a rock band! Aces! Call out the beardo’s! Loved the end of their set - “We are going to play one more’. Cue enchanting 15 minute pink floydesque physcadelica. With some very pacey stage managers.
Neil Diamond
What happened to ‘Girl You’ll be a Woman Soon’? Or ‘Rhinestone Cowboy’? We don’t care about the god songs on the new album. May I also suggest learning the name of where you are: “hellooo Glastonberry”.
The Banjo Circus
The smallest Banjo Circus in the world ever! Made me believe I can do acrobatics. And remind me why redheads are the boss.
Trash City
The random trance of trash city – imagine finding a flaming mad max baddie headquarters at 4am full of crazy midlanders. Could of done with some Lionel Richie though throw a random smack in the middle of it. Nice to meet a 60 year old raver though.
Newton Faulkner
Until recently thought that white guys in dreads only should be allowed to a) sell falafels b) do the lighting rigging, I will now add c) Sing ‘Bohemian Rhapsody’ to a billion teenage girls with a load of acoustic guitar gimmicks to that list

TOP GRIPES

Glastonbury is full of bullshit and double standards: it’s like getting out of a prison to get in, messages of peace love tidy up and happiness. But all the punters leave it like a dump - disgusting.
Music seems to be painfully music-industry indie-based, not that much experimental music on the main stages. Doesn’t really support the genuine alternative scene in that respect. Feels like a marketing exercise in the same people making the big bucks and getting the exposure.
The big band areas of burger bars and gurning idiots that really need a mirror put in their faces.
Now combine 1 to 3 and you have Jack Penate and friends - (allegedly - legal Ed). They were camped near us. They were rude, self-important on coke (seemingly) and some other camper spotted a lovely crackpipe. They left their camp really dirty and didn’t tidy up anything. Probably got paid a relative fortune and treated everyone around them and the farm with total disrespect. This is the mindset of possibly every fouth camp that didn’t tidy up, got wankered, took drugs and then left everything in a field. Spoilt twats deserved a kicking and offered them it too. Not surprising they snuck off in the morning, one of them even walked off while in his tent so ashamed on his comedown.

Maybe it is time to call it a Day – the Message isn’t working

It is more of an issue now then a spare ticket being sold here and there, of course it is reflection of a wider throwaway culture. But in the build up to Glastonbury I think the touting talk/Jay Z talk/Tent Peg talk all come back to one thing. Respect for everyone on site and that disposable culture can’t be maintained. I would find it hard to justify putting on the festival if I owned it. Why not just have a smaller more sustainable festival?

You can’t organise it and then have some very token gestures on charity donations. There was a sign somewhere that said ‘not just a marketing gimmick’ - but I think Glastonbury’s green credentials are the biggest marketing green gimmick of all time.

How about not having 200,000 burn rubber, fire, petrol, use plane miles, and have endless lines of cars coming to a field? Surely that would be the most effective manner to ‘all do our little bit’, or ‘be kind to the farm’. Maybe I am being grouchy and I have had a lot of great times at Glastonbury, but with every year it seems more hypocritical even having the festival on at all.

So if you have to have another one - this is a festival with almost 200k people every year, about a quarter of them working. So cooking food, sucking poo, performing on stage, making a Wickerman…it seems possibly a third are just there to get ‘tarded up on drugs, steal shit, and then leave it all behind when they pop off back to suburbia. Maybe the festival needs to become a tad more militant?

If everyone was involved, then would they respect what you do more? How about Burning Man’s theme, lets ban money on site, let’s take away the bars, let’s take away the burger vans, let’s take away the headliners and the expensive hitters. Let’s all get involved, get up there on a Wednesday and make some reason to barter for food/drink/entertainment. Let’s ban petrol generators and electricity on site. Let’s all get involved to make it work. Let’s have a production train or two taking the kit off and on site. Let’s make the BBC take down their glittery production. “Get into the festival or don’t turn up” should apply from top to bottom.

Whatever happens, something has to change as the state of the site was unacceptable to do it like this again.

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Seconday Ticketing - Touts gone wild

David Harrison — Tue, 27 May 2008 15:31:06 +0000

The days of that yellow-toothed bloke shouting ‘BUY AND SELL TICKETS!’ outside gigs haven’t gone yet, but there is a lot more profitable way to do it these days. The last two years have seen the growth of a tout market that has become so big, it is considerably larger then some of the companies that actually put on the shows it is touting for. This ‘tout market’ has even got a proper ‘legit’ name these days - Secondary Ticketing.

Secondary Ticketing was apparently worth up to £200m in 2007, with the primary ticket market at £790m over the same period. Could that be possible? In two years, could the more respectable side of the tout market have swelled to be worth a quarter of the old, legit ticket-selling industry?

In a meeting last week, I found myself in a room where Viagogo, Seatwave, Getmein, etc, were all represented. Interestingly, they are all Americans. I can’t help but think along the lines of ‘Americans coming over here, with their convienent user-friendly technology and free market ethics’ in order to exploit our own greed.

It would seem most UK promoters have slept through the development of this industry - it is more then their jobs’ worth to deal with them. Now it would seem this strategy may have been to their peril. As it becomes established, and worth so much, it becomes a lot harder to legislate against, plus now some of the bigger artists are thinking – ‘maybe we can make a load more money here’…

So should the government ban secondary ticket selling? In that aforementioned room, where the great and the good in the industry allegedly came to try to come to some kind of consensus, it couldn’t seem further away. This conference was a mess of claims and counter-claims, but sifting through everyone’s opinion there are essentially 3 outcomes.

Allow concert tickets to be sold again but for only 10% more the original price
Allow concert tickets to be sold again but with a tithe going back to the artists
Allow concert tickets to be sold again – i.e do nothing at all.

The last time the government sat down at talked about this, they all went ‘errm , do you think? Is that the time… I have to rush…’ and went for option 3. Now in 2008, they are umming and ahhing over a law that requires buyers of paintings to pay a tribute to the original artist…and in the end will probably once again go for something like option 3 - and do nothing solid again until the industry really is in a mess.

Meanwhile, those Americans with their technology and free trade ethics, are making more money than I care to imagine from the UK’s exploding live industry and festival scene. They have even made an industry association to keep practices nice http://www.asta-uk.org/

Some other Americans, Live Nation and AEG Live, have noticed they can mark up a £20 gig ticket, by bundling it with some cheap champagne and a five-fingered shuffle for corporate clients. While some booking agents are seeing the potential for higher show revenues are asking promoters give the secondary sales auction sites a direct allocation of tickets after all if touts can tout then artists can tout a lot better.

The UK Government itself is unlikely to actually do anything until there is some particular disaster, say - a Sun campaign to show that terrorist money is being laundered through ticket touts, or other such sensationalist nonsense. But since that is about as likely to happen as Wolverine winning the next general election, nothing looks set to happen in the near future.

So what is happening with Concert Ticketing, will it be the new frontier for an artist pay package? Not much in the way of leglisation, that’s for sure. So while the artist/agent and ticket tout get inventive I think the customers might wonder why their tickets costs are going through the roof.

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Interview: The Parlotones - rock’n'roll South African-style

Hugh Platt — Fri, 02 May 2008 18:20:11 +0000

Khan Morbee – it’s the kinda name that makes me think of men in animal furs and war paint, swinging fake weapons about and hollering ‘BATTLE METAL!” at each other. Calm down though – Khan Morbee is actually the frontman of South African indie-rock-types, The Parlotones. There’s not a Lordi-esque jockstrap in sight, just rousingly accomplished indie rock’n’roll.

“Myself and [Neil Pauw, drummer] were introduced by a mutual friend who knew we liked similar bands, we got together and ‘jammed’ a few times soon realising we needed additional musicians.” It’s an age old story, only instead of coming together in a grotty bedsit in Camden, the embryonic form of The Parlotones developed in South Africa. “[Neil] had played in a band previously with [Paul Hodgson, guitarist], and our bassist [Glenn Hodgeson] (who at that stage was really a pianist), happened to be the brother of the guitarist and he took over the reigns of the only instrument left to complete the package.”

“We are fans of The Beatles, Queen, Radiohead and more recently Coldplay (although we never knew of them when we named ourselves) and noticed a connection with Parlophone records, so we slightly morphed the name in an attempt to tempt fate.”

Of course, when a band is fairly established in one territory and trying to break into others, it can cause bizarre release schedules, even in this day and age when it is possible to download a band’s album before they’re even aware they’ve finished it. Which is why the band is only getting round to promoting their ‘Radiocontrolledrobot’ album here, while the follow-up is already out in South Africa.

“[Radiocontrolledrobot’] was our first proper recording in which we did 18 songs in 2 weeks. We have obviously been promoting that album since [2005] and now we are sort of multiple-personalities, having to promote different albums in the different territories. I’d like to think that as musicians we’ve obviously improved, so playing them here seems almost effortless. The songs have been given a breath of fresh air playing them to brand new audiences and winning them over one by one. It’s an exciting challenge…”

“The idea is to release [‘A World Next Door To Yours’] abroad next year and then do a simultaneous release with the third album, so that we’re not having to do this disjointed promotional thing. We’re recording an unplugged session back home in May, we’re very excited about it. It will also give us a chance to delay releasing another album in SA so that we can correlate the third release.”

“I think with ‘A World Next Door…’ we’ve settled on a Parlotones sound that is distinctly ours. Both albums, and albums going forward will always reflect our energetic side as well as our gentler side. I think this is largely due to the fact that influences range from Simon and Garfunkel to System of a Down – we’ll never go to those extremes but will try sit somewhere comfortably in between”

And The Parlotones aren’t afraid to make their influences as clear as an invisible window pane, with recent single ‘Louder Than Bombs’ being “unashamedly a direct reference to [The Smiths] greatest hits album” of the same name. “We are all big fans and we used to throw indie parties back home where we would have friends playing all the indie classics, we would play and the parties were called Louder then Bombs, we even had flyers made with Louder than Bombs big on the front.

“We wrote a song called ‘Louder than Bombs’ as a sort of ode to that moment in our lives. Lyrically, it expresses our desire to ‘make it’ with the refrain ‘Finally it’s happening…’ Weirdly, it was written when things were starting to ‘happen’ (well, what we thought was happening) for us back home and it’s getting a bit of mileage over here – needless to say we’re holding thumbs” That means ‘crossing their fingers’, for those not au fait with SA slang.

The video for ‘Louder than bombs’:

[”src”:”http://www.youtube.com/v/L9JGTFlEKRg&hl=en”,”wmode”:”transparent”]

The band is back in South Africa at the moment, gearing up to record a show on May 8 for their first DVD release. It’s a startling comparison to their relatively small profile in the UK “We have experienced this anonymous existence when we were starting out back home so we don’t feel that out of place…it really makes the sweet moments that much sweeter and we appreciate every step of the journey.”

The band’s popularity back home led them to be one of the bands playing the much derided Live Earth at its South African-leg. Looking back, does Morbee think the whole worldwide event now smacks somewhat of environmental tokenism?

“I really don’t know – the world loves to panic about ‘something’, whether its war, crime, terrorism, bird flu etc. I don’t really know how much of its fact or how much of its fiction, or how much of it is designed by authority to induce a sense of their purpose and existence as the big brother who steps in to fix it.

“Our level of panic is all relative, people in London say crime is a problem, which I find laughable coming from Johannesburg…but then again, I’m sure someone coming from Lagos would find crime in Johannesburg laughable. I don’t really know the real answers but will try to assist whenever there is a perception that something needs to be fixed, i.e. our big stance back home in assisting with HIV/Aids charities and our involvement in Live Earth.

“My only concern is that a loud noise is made initially and it soon peters off into returning to old ‘more comfortable’ habits whilst the hob knobs deliberate on end how to fix the problem so as to not impact the profit machine to intensely – who’s actually running the show? The intentions were good and we were honoured to be a part of that process. I just hope the noise continues and results in real action, not just a couple of windmills peppered across the continent for decoration”

So why is it that while hundreds of identikit indie-twerps in tight jeans (aka the XFM daytime playlist…) somehow prosper, while bands from South Africa are virtually unknown over here? Geographical distances are increasingly irrelevant now thanks to this invention called ‘the internet’.

“In the past, we didn’t have the technology to compete on quality, sanctions were in place for many years, and unfortunately politics stifled arts and culture into a sideline hobby, not to be taken too seriously - and heaven forbid, be considered a career.

“Our currency is also weak making the necessity of touring difficult. There’s also a inferiority complex that seems entrenched whereby we tend to think everything from overseas is bigger and better evident even today where ‘BIG’ international bands who sell way less than local artists [domestically in South Africa] are placed higher on a bill. The verdict is still out on whether it can be done and we’re going to give it our best shot”

“ If all else fails we’ve enjoyed the journey thus far and that’s worth its weight in gold.”

The video for ‘Dragonflies & Astronauts’:

[”wmode”:”transparent”,”src”:”http://www.youtube.com/v/kYO5MnrRlu8&hl=en”]

‘Radiocontrolledrobot’ is ether set for imminent release, or has already come out, depending where you happen to live in the world. It’s easier if you just go check the website, yeah?

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The Cure: gimmicking the number 13

Hugh Platt — Fri, 02 May 2008 17:45:11 +0000

The Cure have a great back catalogue. At their shows earlier in the year they literally excited Music Towers so much we forgot to write a review. Now they’ve decided it’s about time they add to their already-stupidly-impressive songsheet with a new album, due out on September 13. Did you see that? September 13. It’s their thirteenth studio album as well, so the band have decided that on the 13th of every month between now and the release of the album, they’re going to release a new single. Wowsers. The first single, ‘The Only One’, is out on May 13, with ‘Freakshow’ being the title of June’s release. No news as yet on July and August’s songs, but we imagine they will be just as special.

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