@uspic¡ous Fish¿!
Delirious With Weird

Tuesday, May 20, 2003  
And now I get told that James Oldham has direct financial interests in the success of both Coldplay and The Vines because he's involved in their management; if that's not a hammer to the dignity of NME I don't know what the fuck is. No wonder Hail To The Thief scared him so much. The Vines as the greatest debut album EVAH last year in NME? I don't think so somehow. And when one considers that NME early this year voted The Stone Roses' debut album the best album EVAH, period, debut or not, wouldn't that then make The Vines' debut the best album EVAH? Or is my logic flawed? Or is NME just a piece of shit? Poseurs, all fucking poseurs. Coldplay as best album of last year? Is this Rumsfeld saying "no, really, we're invading Iraq for their own good, not our good, not at all" with his fingers crossed, his fat little bejewelled fingers? Not about commercial interests at all? "Oh no" says Mr Oldham or whoeverthefuck, "we voted Coldplay the best album of last year because we love it." Why do you love it? Roof over your head? 30p a word not enough? Do you actually love the music? Does it make your heart soar? Does it make you desperately want to believe in a benevolent God? Does it reduce you to nothingness? Does it evaporate your self? Does it transcend your mere mortal boundaries? You fucking plug. You siphon. When you stick your hosepipe in someone else's tank and take that dangerous little first suck to get the petrol flowing I hope your lips get stuck and the vaporous liquid you so heartily crave chokes your little blackened lungs out. Once. Twice. Three times. A hundred times. But one day you'll get distracted and choke on unleaded, boyo.

Simon Williams used to run Fierce Panda out of his kitchen while writing for NME. How many debut 7" singles of NME bands did they pump out? How much hype did NME cloy those bands with? Single Of The Week for All You Good Good People? Brothers & Sisters? Oh you little weasels, controlling the means of production, clutching at base and superstructure together, eating and keeping the cake.

On a lighter note, I picked up Summer Sun by Yo La Tengo after putting it off for a couple of months. Yo La Tengo have been on my 'investigate' list for some time now but their back cat. is never available in Exeter shops and I keep forgetting to order anything by them from Amazon. I'll get some soon though, because Summer Sun has impressed me quite a lot; there's a lightness and sincerity about it, an unpretentiousness that belies the complexity of the music. In many ways it reminded me of The Delgados' last two albums, but less direct and more creative. Beach Party Tonight, Little Eyes and Don't Have To Be So Sad all stood out as great moments, the latter being incredibly touching and honest, and the penultimate track, Let's Be Still, is just staggering; a ten-minute jazz-fusion attempt that functions perfectly and finds a groove like sanguine molasses. Some have said that it's too smooth and sophisticated especially in light of their previous work, but I wouldn't know. Certainly it dips in the middle as a handful of tracks run into one another in a haze of MOR postrock, but the level of craft invested in it's creation is obvious. Like the Blur album it's the work of a group who've been together for a long long time and who aren't overtly concerned with statements or garnering attention anymore; and also like the Blur album it's got some truly wonderful moments within it's folds.

5/20/2003 04:07:00 pm


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Nick Southall is Contributing Editor at Stylus Magazine and occasionally writes for various other places on and offline. You can contact him by emailing auspiciousfishNO@SPAMgmail.com

All material © Nick Southall, 2003/2004/2005