Posts from 29th August 2000

Aug 00


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Fetish-packaged in a flimsy white paper sleeve with mock-reggae 7″ label (and a jukebox hole!), this is in fact DJ Scud, one of the newer signings to the reputedly stale Digital Hardcore roster. Stale isn’t the word that springs to mind playing “Kill Or Be Killed”, though ‘pointless’ might do. But that’s not a bad thing, sometimes. Scud gets to indulge a few Yardie fantasies with a lot of violent patois talkover, and then the ‘beat’, a monstrous and slow metallic hammering, comes in. The rest is noise. It’s great, violent, cheap, posturing, bad boy stuff, and the version, with less of the chat and a sludgeful stalking bassline, is better still.

My guess is that DHR lost its touch when it started concentrating on full-length albums. Much as I liked the odd Atari Teenage Riot track, I still don’t think I’ve played Sixty Second Wipe Out once all the way through. On a 7″, though, the label’s particularly crass noise aesthetic works perfectly, and their increasingly destructured approach sounds way thrilling. If like me you’re a muscle-free speccy whiteboy crit who fancies a nice wallow in ersatz fucked-up aggro, Bloodclaat Gangsta Youth will sort you out nicely.

And speaking of

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And speaking of Tangents, here is that very Mr.Fitchett talking about Baxendale and Daphne And Celeste. Not a bad article, but what is this we see in the D & C bit? “You know I’m always a bit sceptical of people who are, shall we say, fans of more left-field music, when they profess a passion for some hyped up teen-pop sensation. It never quite rings true, always smells a little of some kind of search for inverted cool: as in ‘I’m so cool I can even like naff teen-pop and it doesn’t mater; and the irony of it is it only makes me cooler!’ Hmmm.” Several slaps with a wet haddock for that one, Alistair! (Not that he’s talking about me, but what’s the good of reading anything if you cant take it personally?)

On the other hand I’ve had long years of being put on the defensive when it comes to chartpop and people assuming I like it ironically. I still don’t think I do, but my reaction’s shifting a bit from saying “No, no, I’m for real!”, to saying, “How do you know how I like music? And why does it matter?”. I think a lot of music discourse – mine certainly included – suffers from making assumptions about motive (but it’s such fun). I don’t know why I’m attracted to a song any more than I know why I’m attracted to a place, or a taste, or a person even. The reasons might be ‘good’ ones or they might be ‘bad’ ones – I want to impress other people, I’m fooling myself, I’m projecting some kind of fantasy. So as a writer what can I do? I can analyse the reasons all I want, but that doesn’t change or stop the attraction. Hmmm indeed.

A Ramble With Pram

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A Ramble With Pram: an excellent piece by Kevin Pearce which manages to pin down that consistently charming and intriguing group as well as anything else I’ve read about them. From your official favourite e-zine Tangents, which has exploded with life over the last few days, editor Alistair Fitchett contributing no less than five (typically strong) pieces on various pop crannies.

What I like most about the Pearce article is how he starts with the assertion that Pram are his favourite band and ends up deciding that he’ll probably, maybe, sometime buy their new LP. This gets something very right about a certain type of listener and the whole idea of ‘favourite bands’. I’m still very uncomfortable even having a favourite band, as it seems to leave so very much out, and Pearce’s implication seems to be that you can pick favourites with a combination of respect and whim, something I’m definitely in agreement with.