Occasionally there are other things I do apart from listening to music, and one activity I’m very keen on is reading. I’ll read anything me, stick it in front of me and I’ll read it. I’m the kind of person who needs a bookcase but is too tight to buy one. I’m the kind of person who will enthuse about books in environments where you’re meant to stare at girls. I’m the kind of person who allows a passage from a novel stay with me more than quotes from movies. I’m the kind of person who would give my left ear to have known people like Flannery O’Connor, to have picked her brains and been in her presence. I’m the kind of person who still wonders why Camus’ The Fall went mental on me after the second chapter. I’m the kind of person who buys people books as gifts. I’m the kind of person who (probably) judges people by what books they have read and what books they have not read. I’m the kind of person who up until 15 hadn’t picked up a book of my own accord in years until my English teacher listed Catcher In The Rye as his favourite book. I’m the kind of person who was influenced enough to go and buy it on that recommendation alone and read it. I’m the kind of person who fell in love there and then with everything the book contained, the characters, the plot, the writing, but most importantly the literary form. And for that I will forever be grateful to J.D. Salinger.
To read more opinion on Salinger go to my good friend Ewar’s blog (where you can also see an old account of mine commenting).
I’ll never forget the ’scene’ between Holden and his sister Phoebe amidst the setting of the carousel.
Thanks to my good friend Ewarwoowar I have stumbled upon the ten best British albums of the past 30 years according to the people at the Brits. I’m pretty sure the conversation went something like this:
“Oi, Dave, gimme an old album. Who was that bloke who dressed up as a Gorilla?”
“Phil Collins.”
“Righto, and what about some of those people mentioned in that scene in Shaun of the Dead, Dave?”
“Sade and Dire Straits.”
“Bingo, Dave.”
So, there we have three of the ten nominations and aren’t they lovely? Great albums, I think you’ll all agree but without further procrastination let’s give these and the other albums the Average Wolves Player treatment.
Coldplay – A Rush of Blood To The Head
A record you listen to about nine times before wanting to beat down on your own head in a fit of furious anger. Funnily enough, Denes Rosa only made 9 appearances for Wolves. He was meant to be a beautiful, free flowing attacking midfielder (much like this, apparently, much-lauded beautiful, flowing album) but he couldn’t get past Paul Ince.
Dido – No Angel
A frustrating album that peaks with wondrous pop moments and troughs with shit sentimentality. Much like the frustrating Aliadiere who has had the same bag of potential since the early 00’s but has never quite reached the dizzy heights expected of him. If you’re of a West Bromwich Albion persuasion see Luke Moore.
Dire Straits – Brothers In Arms
Steffen Iversen, dear Lord. Overrated and poor as you like, possibly the most similar match between album and player here.
Duffy – Rockferry
Duffy is meant to be the saviour of British soul or something. She ain’t. Silas was meant to be a player who Mourinho had always wanted to sign and was a silky midfielder-cum-striker. He weren’t.
Keane – Hopes and Fears
Isaac Okoronkwo, I’m sure, is a nice enough bloke despite donning the old Gold and Black. Much the same as I feel about Keane, nice. They neither offend me or entertain me. I could have made a really terrible Robbie Keane joke here but he’s actually quite good so that put a stop to that.
Oasis – (What’s The Story) Morning Glory?
Hello and welcome to the 2010 Brit Awards, this year we’re going to be edgy by not choosing Definitely Maybe but that other one with the really long and shit title, y’know? Unfortunately, the Gallagher Brothers couldn’t be here to collect their awards but here to collect it for them is just as big a bellend, Kevin Muscat!
Phil Collins – No Jacket Required
HAHAHAHAHAHAHA. Sami Al Jaber HAHAHAHAHA.
Sade – Diamond Life
Album: bigger than it should have been. Camara: bigger than he thinks he is.
The Verve – Urban Hymns
The Verve are capable of some outstanding, beautiful moments if we’re honest. They can also be arseholes. I recall Cooper scoring some outstanding, beautiful goals. But he turned us down to go to Wolves because ‘they had a better chance of getting to the Premier League.’ Oh, how we laughed that famous season. Arsehole.
Travis – The Man Who
Anyone remember him? He was shit and so were Travis.
Basically what I’ve portrayed here, through the medium of average Wolves players, is how painfully awful most/all (delete as applicable) these records are. Probably not the fairest viewpoint, but easily the most accurate.
It’s very very exciting. I follow a lot of musicians, labels, magazines and generally anybody who has anything to do with music on twitter. Some even reply to me and I’ve used it to good effect on this here blog before with the Audio Antihero interview.
It’s slightly less exciting if you’re tweeted by a band you don’t like. Offering to help cut off your ear.
Around two hours ago I sent out this tweet:
Ooh look new albums from Lost Prophets and Hadouken! Remind me to cut off my ears, thanks.
Swiftly and too their credit Hadouken! replied offering to take me up on the offer.
@spotify_tapes pass me a flick knife and i’ll do it for you myself. xx
Now, I have no problem with the cutting the ear off bit seeing as it was my suggestion and a wise one at that. And let’s get this straight, it’s not a threat either. I’m sure they’re very nice people indeed and I’d probably do the same if someone offered such a gambit on my band (if I were in on). But the two things I wouldn’t do would be a) actively search my band name on twitter (or use any application to do so) and reply to the little turds (in this case me) who obviously aren’t musically interested in the band. I’m interested in knocking them but not listening to them. Ever again. The second thing, b), would be leave kisses at the end of it. Why? Just why? Is the edge trying to be taken off the situation, is it all a joke, or it is a bit fucking patronising?
In truth though none of this really matters but it does help me ask the following question:
What precautions would you take to never hear the music of Hadouken! again?
It’s time to make a stand, guys. And in case you haven’t heard Hadouken! before imagine cooking a pie and filling it with your own vomit and other bodily fluids, eating it and then emptying it all out into another pastry based dish and eating it again and again and again with the process lasting an indefinite amount of time. Only adapt that to music. I don’t really want to encourage them but…
Make your own minds up but let me know what you’d do or how far/low/high/to which other county you’d go.
You know what day it is, right? Well, probably not seeing as I’ve never done this before. But it is, indeed, Mixtape Monday! Mixtape Monday involves me making a mixtape, uploading it here on a Monday and then you listening to it (not necessarily on a Monday). You getting it?
This is my first ever, so it’s probably whack, but try to enjoy it nonetheless.
So where can you pick up this Mixtape?
It can be downloaded from here. Just think of it as a FACT mix, but a lot worse.
Everyone has a favourite label, even those who call having a favourite musical snobbery can see label’s that stand out a mile ahead of everyone else. Personally, I’m a fan of Dischord, Stones Throw and Smalltown America to name but a few. One of my more recent discoveries has been one of the newest independents on the block, Audio Antihero.
Self-proclaimed specialists in commercial suicide, Audio Antihero are a label to be taken notice of. Formed after extensive tutelage in and around the British independent scene the label seems to be as fiercely independent as they come. Selling their first CD on October 13th 09 Audio Antihero are still finding their feet in the competitive market that is the music industry.
Just to hinder them some more we thought we’d interrupt the bedroom operation to be nosy and ask a few questions. Luckily enough Audio Antihero were nice enough to answer them for us.
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Your first release was Nosferatu D2’s album which until your intervention was unreleased and largely ignored. Was that the main reason why you set up the label, just to distribute a record you love?
AA: Pretty much! I asked Nosferatu D2 if I could release their record a long time ago, but by the time I was even close to being able to run a label, they’d split up. I almost gave up on the label, it didn’t take me long to realise that I couldn’t run a label and not release their record first. So I did the right thing, for a change.
I knew I was never going to sell many CDs without a tour to support the album, but you can’t start a DIY indie record label purely out of love and then start worrying about commercial viability before you’ve even started.
I wasn’t happy listening to Nosferatu D2 as a collection of mp3s, nor was I happy with Nosferatu D2 being a ‘defunct local band’. I wanted people to discover and remember them, I wanted their legacy to be strong. What we’ve got now is something very special, radio is playing them, journalists are writing about them and people in countless countries have been ordering their CD. I hope people talk about them forever.
Knowing that people who’d never heard of the band before are writing on blogs and forums to say that it’s their ‘favourite album of 2009’ is as much of a pay off as anything else could be.
To me, walking away from Nosferatu D2 would be like having Nirvana’s ‘Bleach’, Jeff Buckley’s ‘Grace’ or Springsteen’s ‘Greetings from Asbury Park, N.J.’ and just saying “no, I won’t sell enough, I won’t bother”. Classics can be big and small.
How much time and effort is put into the label, is it in the indie dream or the opposite?
It’s not my full time job, sadly. I work 9 to 5:30, walk home, and then see what I can do with Audio Antihero. For the first few weeks I barely slept, one of the more supportive US bloggers I was in touch with used to e-mail me from the other side of the globe, telling me I had to go to sleep!
Sometimes I burnout. I’ve got quite painful inflamed tendons too, so I do sometimes have to drag myself away from my screen and lie in a dark room – but really it’s the most fun and fulfilling thing I can do. Every review, friend on myspace/twitter and CD sale makes me feel very proud indeed.
I feel really good at the moment, and really want to spend as much time on it as is possible, I want to help get Benjamin Shaw playing some good gigs, keep people talking, find some stronger distribution and make some new friends. Christmas has been an obstacle though!
Does your label have a particular ethos and/or particular genre you source from?
Never Say DIY!
Ideally, we just want to rock. There’s things I agree and disagree with in the music industry, just as there are things I like and dislike about music fans, I just try to provide people with what I would want myself.
I don’t rip off or tie down my artists, I give them all the control they want. I release records I would buy, I manufacture the albums to the standard I’d want to buy them at. Also, I try to ensure that we’re an accessible and personable label for those who are interested in us. I know small bands/labels that are so insecure about not being signed to Sony or whatever that they feel compelled to dress everything up, and avoid talking to their fans as though it’s beneath them. It’s not necessarily that they’re arrogant people, just they think if you e-mail people back they’ll realise you’re not actually in possession of 80% of the market share. It’s a bit embarrassing.
We’re not quite a genre label, not that I have anything against them; Stax was a wonderful soul/R&B label, Sam Phillips did some invaluable work at Sun Records, shaping rock ‘n’ roll and Sub Pop’s ‘80s & ‘90s ‘primal rock’ focus was the last great period in music history – our primary interest is on ‘alternative music’, but currently my only real requirement is that I can feel it as well as hear it.
The CD vs mp3 debate still rages. Audio Antihero seems to be strictly CD based. Are there any plans to expand this to other formats or is the physical format something you feel strongly about?
I personally hate the mp3 format. MP3s are not a record collection, that’s the whole reason we worked so hard on releasing the Nosferatu D2 record in a physical format. But with that being said, we will be signing up for digital distribution at some point. I don’t understand why people want to buy this stuff digitally instead of on a fairly cheap CD, but apparently they’re out there, and I’m sure they’re very nice too.
It will give us the freedom to release singles/EPs and compilations that we just can’t afford to do physically. I won’t argue that more music can only be a good thing and I can see there’s benefits – but I’m not sure I’ll ever buy an album from iTunes, not as long as I can get it on CD, tape or vinyl.
Are there any record labels you look up to or would one day aspire to be like?
Many. As mentioned before, Stax and Sub-Pop are my heroes. In their early days Southern Records were a really wonderful DIY force, interning with them was definitely an influence on me. Some of my earliest exposure to DIY came from a UK label called Genin (run by Bass of Djevara), who really do ‘stick it to the man’, and look out for their artists. I got a lovely e-mail from Bass telling me how impressed he was with everything and that we were involved in a good thing and doing a good job of it, he’d been one of my punk-rock heroes since I was about 14 and it was one of my proudest moments.
I’ve also been following the lead of I Blame the Parents Records, who’ve been so kind to me, helping me get records into stores and the like.
I love that small labels are willing to help one another out, I’ve started sticking flyers for Genin records in my parcels when I have them and passing on I Blame the Parents review material to press who’ve said nice things about us, we’re all in it for the same thing. I just wish that a ‘DIY spirit of community’ didn’t sound corny and nostalgic now, as we’ve never needed it more.
Of the songs you’ve released which would be the one you’d choose as a flagship for your label? In essence favourite song from your two artists?
A favourite from each would be would be Benjamin Shaw’s “I Got the Pox, the Pox Is What I Got” – ten minutes of disease and beauty – and “Springsteen” from Nosferatu D2, a song so clever and desperate it’s given me the chills every time I’ve heard it since 2006 when I chanced upon them.
Seeing those songs performed live was quite overwhelmingly lovely. I wish I could put those memories on a record and release that too.
And the fantasy question. Your dream artist roster please?
I already have it, but it does need to be expanded.
I suppose if you want some names, this is the best I can think of right now;
A reformed Nosferatu D2
Benjamin Shaw & The E Street Band OR Benjamin Shaw & Crazy Horse
Mudhoney
Superman Revenge Squad
The Owl Service
A reformed At The Drive-In
The reformed Faith No More
Gary Numan
The Melvins
Immortal Technique
Akron/Family
Kieronononononon^onononon (they actually honoured me by offering me their next record, but I couldn’t take it sadly)
Shield Your Eyes
Dinosaur Jr.
Modest Mouse
And maybe Dr.Dre to pay the bills, or something.
The all important question: Any secret future signings you have up your sleeve or any ones to watch for next year?
Next, I want something big and nasty, something that could have supported Mudhoney in 1988, something that truly is an ‘Audio Antihero’! I just need something that excites me and something that’s worth spending all my money on and storing boxes of CDs in my bedroom. I’ll struggle to follow Nosferatu D2 & Benjamin Shaw though.
Regrettably I’ll need to sell some more Nosferatu D2 & Benjamin Shaw CDs first, it’s the pitfall of independence. No money, no room and no resources!
And where can readers catch a slice of Audio Antihero?
We’re all over the place, but people seem to keep missing us. Spread the word!
If you pop along to www.audioantihero.com, you can find links to us on myspace, twitter, blogger (yes, we write things), songkick (see where we’ve been and where we’re going), facebook, youtube, and all of that. There’s free songs to download, music videos to watch, features to read, means to contact us and all the rest.
In terms of buying our records we sell them via mail order from the above website. Actual stores that stock them include Rough Trade (London), Piccadilly Records (Manchester), Norman Records (Leeds) and Spillers Records (Cardiff). However Rough Trade won’t be stocking them for too much longer so get down their sharpish if you want to pick up copies of our records.
Australian folk can pick up Benjamin Shaw’s “I Got the Pox, the Pox Is What I Got” EP from Half a Cow Records which is run by Nic Dalton of The Lemonheads and The Gloomchasers.
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Audio Antihero talk a good game but they also play a good one. As you can see from the answers provided they are a record label which cares for music, and not only that which they provide. It’s refreshing to see that there are people out there who are still in music for the ‘right reasons’ and not just to clean everyone out. Not only all this but they seem like thoroughly nice people to boot and if that doesn’t get you buying their records then I don’t know what will.
Had a nice week? I made a CD for Uni which was really stressful. But anyway onto the important stuff. This week will probably see me ringing a few changes to this here blog, nothing drastic appearance wise, just content wise, really. Hopefully, I should be able to do a lot more with things then.
Spotify Tapes, instead of being the title, will become a regular feature, perhaps the most regular feature. And you can still recommend me records to listen too, that won’t stop, mainly because I’m a new music nerd. Other sub-standard features will be entering the fray. Exciting, non?
But for now, until the first post of a new era comes kicking and screaming to this blog, satisfy yourself with a humongous Spotify playlist containing some potential records of the decade.
I’ll try to explain some of those choices on that list. J Dilla is the best hip-hop record of the decade in my opinion. Showed people different ways how to make a spliced beat. The only artist that comes close is Madvillian and his many guises.
Spoon are the sort of band where you could choose any record. Personally, Kill The Moonlight would be my pick but it isn’t on there so you have the equally good Ga Ga Ga Ga Ga.
The National are easily one of my favourite bands ever. Thus they cement their position with one of the finest records I’ve ever heard.
M83’s Before The Dawn Heals Us is much better than Saturdays=Youth in my opinion and is one of the better mainstream electronic releases.
Richard Hawley is thanks to Shaun for introducing me to a great record.
Anathallo have made the best Christian record to feature some nice drumming and stuff ever. No hymns.
The Shins made the first perfect record of 2007 with Wincing The Night Away
Frightened Rabbit were the best of last year so have their place secured.
And the rest are all bloody brilliant too. You should definitely go and listen to them.
For a better and less indie poseur list why not head over here?
Looking forward to the next time. By the way, if you can think of a snazzy blog name, let me know, yeah?
I think I deserve a little break from writing now Uni is over (and plus I have a collaborative idea for a story about an Algerian card shark). Normal service should be resumed next week.
Anything you want reviewed? All the usual places are available to leave me a shout.
In the meantime, check this blog out on Horror used within Music. I took part in this for a presentation and if you ask me it was pretty awesome. I shall be making a CD for it this week too, which is exciting.
Thanks. While you’re waiting maybe you could learn the Charleston.
Sadly I haven’t got time to write anything about them but all the pictures will link to the albums on Spotify.
Top 5 albums
5. 4. 3. BUY THE ALBUM FROM ALL THE USUAL JOINTS. SADLY NOT AVAILABLE ON SPOTIFY. (yes, it had to be in here)
2. 1.
Reissue of the year:
Deadly serious song of the year:
If you don’t agree, you know nothing about pop music. Anywho, here is a spotify playlist which you can add your own personal songs of the year too on top of mine. Exciting. And yes, I realise all of this is in bold. I’m a bold kind of guy.
Blues isn’t something I’m terribly familiar with. I’m a fan of the odd musicians like Muddy Waters and Mississippi John Hurt. I like some Tom Waits songs but haven’t delved deep enough to judge how good he may be. On this basis I was more than happy to listen to a blues record as well as being very intrigued as to how it would sit with me.
There’s something about blues music that is seemingly always authentic. Even when on a studio album it sounds just like it would in it’s rawest form. I believe this may add to how a listener receives the album. It doesn’t feel like Old Souls & Wolf Tickets has been pieced together take by take. The soul and heart hasn’t been ripped out of it by over-production or anything like that. In essence I suppose I’m trying to say that it just feels real.
One of the elements I really like this about this album is the simplicity of it. Often blues music can be an over-complicated melee of instruments but here a lot of the songs (It Didn’t Happen Overnight, Sweetie-O) are stripped, laid back arrangements.
Two of the best songs on this record contrast and provide dance driven blues juxtaposed with a bit of country. Two Tone Car is, as it says on the tin, a song about a two tone car. I can only imagine this car as one of the all time worst cars in history but it made one hell of a funky song. Anthem For Old Souls feels pretty much heartbreaking. It sounds like a song that should have closed a film like The Searchers or another movie of that ilk.
Unfortunately no songs from this record are available for streaming but I think you’ll agree this ditty from another record is performed with gusto.
As traditionally blues as this record is I’m sure this would have provided the backbone for many rock and roll records to come. With the best examples coming from Down The Road A Piece which has the flow of many contemporary records (see also Jolie’s Nightmare) and the opening riff too It Don’t Happen Overnight reminds of another more recent song.
Arriving towards the closing moments of the album there is no let up in the scattershot selection of genres. Blood Alley is the intro into a detective drama but cooler than Columbo et all. G-D Damn Liars is another rock and roll/blues standard and a reference to Chuck’s band.
Dixieland Funeral is a fitting climax to a free-spirited record. It brings together most of the elements from all the previous songs and is basically one massive jam. Just for that alone it could be be the magnum opus of the record, quite easily. This record has everything any music fan could want, there are no boundaries to be found anywhere. Did Chuck E Weiss rip up the musical genre rulebook? I think he chewed through it himself.
Old Souls And Wolf Tickets is available for listening here.
Next week will be the obligatory lists week. A new year will soon be upon us so we all have to do lists based on albums and songs. It is the law. A new decade too but I can’t really remember stuff from when I was ten so count that list out. This means you, yes you, have a fortnight to get your recommendations in, so, what are you waiting for? Leave them below, email or tweet them @spotify_tapes if you so wish.
EDIT – You don’t have a fortnight do you? You have a week because I need to listen to the record. Whatever, I passed Maths early y’know so shut it.
Warning: Some of you may be offended by the following tenuous link.
Hey guys! There’s that new Twilight Movie out this week! Rather exciting if you like reading pap. But did you know that it takes until the fourth book, the bloody fourth, to get really mental. Like proper mental. I have it on good authority that in the fourth instalment the girl finally succumbs to having sex with the vampire bloke, she gets bitten and becomes a vampire and then becomes pregnant with a vampire baby. Amazing. It took four books for the creator to introduce borderline necrophilia (technically vampires are dead, right?) into a teen romantic book full of gumph. It took four books and probably about 900 pages to get mental.
The point being that Solihull’s Swell Maps take no time at all in telling you that they’re completely mental. Instruments sound like they’re verging on breaking, most songs are one-two minute ramshackle affairs and its all the better for it.
The first four songs sounds like Public Image Ltd having a fight with The Members with Wire and Gang of Four shouting “Hit him, John” at them. Four of the best examples of punk music in it’s rawest form. When we get to Harmony In the Bathroom though things become a bit more experimental. The introduction of sounds that aren’t instruments, notes delivered like belches, the hammering of a piano. This is what it would sound like if you went into the brain of David Icke. Mental.
Scattered through the record at certain intervals are what I have called ‘musical episodes.’ Blokes talking in Brummie accents over various stuff planted together.
Full Moon In My Pocket, Blam! and Full Moon (Reprise) are basically one song split into three tracks thus providing the album’s only real moment of solid consistency. Usually this would be a fault to pick the band up on yet the incoherence is the absolute crux of A Trip To Marineville.
From then on in it’s equal parts spiky, equal parts experimentation. Extended songs matched by equally brief songs. Noise is balanced by pure rawk. Snotty delivery and slurred words. Musical historians will look back on this album and label it post-punk seeing as this album was on the cusp of that genre’s inception but this is one of the truest straight up punk albums you may probably ever hear.
Nowadays this album gets a lot of attention because of the resurgence in ‘noise rock’ (No Age, Health etc) and other such genres but I think we can safely assume that there won’t be another record made like this or, crucially, as good as this. It might take a few listens to click but seriously stick with this album (even the song that sounds like a bunch of monks) because it really is as good as the cool cats say.
So you might have noticed we ain't solely Spotify Tapes anymore. Spotify will still be a feature of this blog but I'm going to try and see if I can do a few more things.
You can still suggest artists and all that jazz, because I'm a new music nerd. And it doesn't have to be NEW new.
If you have any queries, questions or suggestions for albums/artists to listen to (you can also comment these and make me look popular) then please don't hesitate to email me at the following address:
