Listening without prejudice

TallShips

As previously revealed, I took home around 20 pre-release CDs – mostly singles; a couple of albums – from my  6 Music pigeonhole last week. I uploaded them all at the weekend and have been listening intently on my ancient iPod ever since. (I’ve noticed that as iPods get smaller, headphones are getting bigger and bigger; my iPod is massive, and my headphones tiny. I’m no follower of fashion!) Anyway, I counted 19 new songs, most of them coming out in February or March. Few had actual paper press releases attached, and if they had information on a sticky label affixed by their plugger, I deliberately avoided reading it, so as to be able to listen to these artists, mostly unknown to me by name, without prejudice. Sometimes, seeing a picture of a band can influence the way you feel about their song.

Now, it’s inevitable that I won’t like everything, or even the majority, in a mass listening session like this, but let’s take out the artists I’d heard of first: Johnny Marr, The Vaccines, Low and The Wonder Stuff. I continue to be underwhelmed to the point of toothache by the Vaccines, who are doing very nicely without me anyway, so I shan’t lose sleep over our lack of a connection. I am already mad about The Wonder Stuff, in person and on record, and fully approve of their From The Midlands With Love project, whose final addition is Planet Earth and Get Up! Johnny Marr’s single Upstarts is OK, confident, driving, but again, he doesn’t need my support. Minnesota’s Low are minor legends, and their new single Plastic Cup is slow, lilting, melancholy and lovely, and its lyric actually has content (“the cup will probably be here long after we have gone”), which is something to cherish in this grey age. Oh, and ex-Beta Bandsman Steve Mason is also well established, and his new single Fight Them Back is effortlessly brilliant.

Since working with Josie two years ago (is it really? yes it is), I have become reconnected with new music, and new artists. So let us praise those songs by bands and songwriters about whom I know next to nothing. The pic at the top is of Tall Ships in action. As I type, I know I really love their coruscating but joyous single, T=0, but I have yet to look them up. They appear English, but who knows? Theirs is the real find of the batch, along with Wanderlust by Cloud Boat. (Nautical theme entirely coincidental.) Again, I know not who Cloud Boat are, or is. But the song is like a mini-symphony, even the three-minute radio edit; I’m getting James Blake, I’m getting My Bloody Valentine, I’m getting early Cocteau Twins … I’m getting something so delicate it makes a kind of mockery of what “a single” is, or should be. I have just found this image of Cloud Boat. Of course they’re in a church.

CloudBoat

Of the rest, I was initially quite taken by the sheer bombast of Pompeii by Bastille, even though it seems to be squarely aimed at the charts with its autotuned vocal and singalong chorus. Far cooler seeming are Io Echo, whose Ministry Of Love has real atmosphere, with female vocals far away in the distance, and more than a hint of Goth in its distorted guitars. Disco Sucks by The Computers has a good title, and is driven by old-fashioned rawk grit. I’m guessing they’re American, and very glad that Jack White came along a few years ago. Further up my street is the driving Ocean by Coasts (heavens: more water!), although, again, it sounds as if it has its eye on the post-Metronomy/xx prize. Also good is On The Spines of Old Cathedrals by Shrag, as it sounds like it was released in the early 90s. Spiky male-female vocals, apologetic drumming, but real energy. Unlike Bastille and Coasts, they don’t sound like they care too much whether or not you dance to it in a club.

I won’t mention the new bands whose tracks I didn’t latch onto. What would be the point of that? Not everything is for everyone. And anyway, I seem to have liked exactly half of the songs I uploaded. That’s pretty cool.

And now, to complete my experiment, I shall look up the bands I like, and provide links to their websites.

Tall Ships are from Falmouth, it appears. (I once lectured at Falmouth University – what a fantastic place.) There is another, American band called The Tall Ships, which is unhelpful, and the phrase “tall ships” mainly takes you to tall ships if you tap it into a search engine, but their MySpace page is here, the video is here, and their product is here.
Cloud Boat have their Facebook page (I really can’t get on with Facebook, but you may be more conversant with its workings), and the video for the full-length version of Wanderlust is here. If I was a band, I’d have a website that just showed a picture of me, and said where I was from. (Follow them on Twitter here.)
Coasts are a mystery. I don’t have the disc in front of me, so can’t even check the sticker. Look them up and find nothing as I did. Maybe I’ve got their name wrong. Still like the song!
Shrag have just announced that they’re calling it a day. Brilliant. This is me really getting in at the ground floor – they’ve only released three albums and about ten singles without me noticing. Still, I like the song, their blog is here, and they even have a Wikipedia entry. I’m going to seek out their last album Canines, from which the single is taken. It looks brilliant:
SHRAG

Io Echo are easier to find, as their name is unique. They have a website, and although I can see that they are a duo, and look quite amazing, it doesn’t say where they’re from. They seem to be very new, with a debut album to come. At least they didn’t split up before I “discovered” them. (Their MySpace doesn’t say where they’re from either.)
Bastille seems to be one man. He’s British and his MySpace page is here. Apparently Huw Stephens likes the song, so it might be a hit. I have no interest in the charts or predicting hits.
The Computers turn out to be British, from Exeter in fact, signed to Fierce Panda, and they look like they wish it was the 1970s. Good on them for that, and for looking like a band. They seem to run a club night called Disco Sucks. I don’t think they have a website, but this is them.

The following artists are well-established, but I liked their songs, and will provide links anyway, since I seem to be running an online fanzine all of a sudden. Steve Mason is here. Low are here. And The Wonder Stuff are here.

Sorry to namedrop but I was having a heated conversation with genial Martin Freeman at the Radio Times party on Tuesday night. He’s a massive music fan, as you probably know – indeed, I first met him when we were teamed up on the Radio 4 music quiz All The Way From Memphis, and had him on Roundtable a number of times – and only a few years younger than me, so we’ve both experienced that awful realisation that modern music doesn’t quite do it for you in the same way that modern music did in the past. Martin wanted to know if it was an age thing, something we all inevitably go through, or whether his feelings about modern music have something to do with the poor state of modern music. I think it’s a bit of both, but more of the former.

True, the singles charts are unrecognisable to me now, with everybody “featuring” on everybody else’s record and slick R&B and autotuned identipop dominant, but without Top of the Pops, I’m disconnected from them anyway. (If it was on, I guarantee I’d watch it every week, and know more.) I’m not in any way disinterested in new music, as I hope this experiment has proved, but even though it’s easier than ever to access music, for free, I find I need a curator, a filter, a third party to keep me up to date. And I have a pigeonhole! (I think Spotify is a smashing thing, but it’s too big. Where to start?)

What do others think? In the meantime, I say hooray for Tall Ships, and Cloud Boat, and Shrag, and Steve Mason, and Low, and The Computers, and a band I’ve not yet heard of who are going to blow me away. (I also got the Palma Violets debut album, which I’m still investigating, but I liked them on Later as they seemed to be young men who’d heard the first Clash album)

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