Posts from September 2001

Sep 01

It’s press release time!

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It’s press release time!


12th October 2001, 8 PM – 1 AM
The Betsey Trotwood, 56 Farringdon Road, London EC1
Nearest Tube: Farringdon
Entry £5

Following the horrifying events of the 11th September, London’s indie community has come together to organize LondonIndieUSA, a benefit night in aid of the victims of the terrorist attacks on America. All proceeds from this club night will go to the International Red Cross.

London’s indie scene has enjoyed strong long-term links with America, with bands crossing the Atlantic in both directions, and fans finding common ground online. Every indie fan in London has friends who have been seriously affected by the recent attacks. This benefit is an attempt to reach out and offer support.

LondonIndieUSA will take place on the 12th October at the Betsey Trotwood pub over two floors. More than a dozen DJs, representing several of London’s regular indie nights, will be taking part. They’ll be playing everything from full-on pop to experimental eclectica, with the emphasis on dancing and fun. Records, memorabilia and booze will be raffled for charity during the evening. Oh, and the Betsey Trotwood is fully licensed until 1 AM!

This is a unique event, a chance for London’s indie scene to show how much the friendship and community Americans have shown us means. The fact that it’s going to be the best indie night out this year is, as they say, a bonus.

Doors open at 8PM and entry is £5.

For more details you can e-mail me – and please do publicise this in any way you want! Thanks.

Sep 01

Pitchfork reviews Basement Jaxx

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Pitchfork reviews Basement Jaxx, exhibiting amusing boy’s-club groin-fear: “The shrill, sex-crazed drivel distracts the listener’s ear from the underlying instrumentation, which sometimes has a lot to offer”. Sex-crazed? Blimey! Tart and tasty single-of-the-summer “Romeo” is predictable, shallow, bland and cliched, apparently, but don’t worry, o chastened Jaxx-fans, one or two tracks pass muster. On “Broken Dreams”, f’rinstance, “Sha’s refined, bubbly female vocals are more Stereolab than Salt’N’Pepa” – well, that’s all right then! Though anyone who prefers Stereolab-stereotype ba-ba-ba to “Push It” probably needs Rooty far more than we need to find out what he thinks of it.

Sep 01

Also not recommended:

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Also not recommended: Biggie – “Juicy”, Jeru – “Come Clean”, Royce – “Boom”, Dre – “Xxplosive”, OutKast – “Bombs Over Baghdad”, etc.

Clear Channel’s List of Songs With Objectionable Lyrics

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Clear Channel’s List of Songs With Objectionable Lyrics: A response to the events of September 11 focuses on the lyrics of 150 or so radio standards, including “all songs by Rage Against the Machine.” Lyric-broadcasting in times like this, where sensitivities are a bit higher than usual, is definitely a delicate balancing act—I had more than a few “is this okay?” moments during a radio program I hosted on Saturday —but on the flip side, I’ve been listening to the Temple of the Dog album all week (it kicks off with the currently blacklisted “Say Hello 2 Heaven”), and it’s been one of the few calming popcultural artifacts in my orbit. It’s the crassly stitched-together “disaster specials” (AC staples like Don Henley’s “New York Minute” or C. Dion’s “My Bleeding Heart Will Forever And Ever Go On, Even Though I Claim To Have Retired” with special news footage layered over the instrumental bits) that are completely abhorrent, capitalizing on last week’s events through emotion-jerking that can be teased as “lighting up the phone lines and coming up after “Alone” by Heart,” or squeezed between the traffic report and (the not banned!) “Let Me Blow Your Mind.”

Mike Ladd: Welcome to the Afterfuture

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Mike Ladd: Welcome to the Afterfuture: Ethan P. takes time out from baiting regulars on ILM and ILE and crosses the tracks to write for Pitchfork. It doesn’t read like a typical Pitchfork review, either, more like a swearier version of Hua Hsu’s impenetrable-but-exciting hip-hop writing for The Wire (right down to the token quotation of some ‘dense flow’ or other). Which is good, even if I’m no nearer guessing what Mike Ladd’s music sounds like.

Sep 01

Arvo Pärt’s “Cantus”

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Arvo Pärt’s “Cantus” is the subject of the latest Freaky Trigger update. Regular FT service next week.

Sep 01

BJÖRK – “Hidden Place”

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Everyone has a private area, be it physical or metaphorical, that they use a private retreat. I am amazed and astounded that Björk has shared the soundtrack for hers with the world and it sounds so much like the soundtrack for mine.

Yahoo! Groups : LondonIndieNYC

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Yahoo! Groups : LondonIndieNYC: a group of London indie people are sorting out a benefit gig for the USA terror attacks – details of venue, time, price and where proceeds will go to TBC but it’s happening on October 12th. Join this yahoogroup to be kept informed and please, if you can make it, do. More details and hype to come.

Buy British

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Buy British – American hip hop “losing its lustre”. Big and Pac still dead. Hip hop to be toned down by someone (remember “The Message”? “Stop The Violence”?). Blade still quite good. Roots Manuva still writes some shit lyrics (“To my boys that hassle banks like Jimmy Floyd…”). Record companies “don’t know how to deal with hip hop”. Record buyers will still, when given the choice, buy the record that sounds better rather than the one made in their own country. Guardian music coverage still shit.


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Arvo Pärt’s “Cantus”

How handy it all is, manufactured melancholy. Most useful, especially when the intentions are heartfelt, it’s easier to market. Of course, that need not be the intention of the creator of said melancholy, but somebody’s got to find the hook, which is why I heard about Arvo Pärt in the first place.