1. How NOT to write about music – 27. Television Personalities
I have been aware for as long as I can recall that music has provided me with a sense of belonging, a sense of community and sharing, give and take. And if that no longer exists then surely that is my fault and no more and no less than I deserve. Music scorns me like a former lover. Back when I knew Alan McGee and Dan Treacy in the early 1980s the music provided a palpable sense of belonging, clubs like (Alan’s) Living Room at the Adams Arms and (Dan and Emily’s) Room At The Top (Chalk Farm Enterprise) providing a living community of outsiders, bloaters, the braggarts and the bullies, the shy and the emotional, the Sixties obsessed guitar freaks and the psychedelic losers. Alan gave me Dan, Dan gave me Marine Girls and so much inspiration in his own personal, heart-torn songs – no separation between performance and performer, much as Dan attempted to insert some. Amazing fucking pop songs.
2. How NOT to write about music – 26. Kristin Hersh
I want to write about Kristin’s new album but the music keeps intruding, in a way music rarely – if ever – does when I am attempting to write about it. Full immersion. The way the music and guitar lollops and loops and curves, and throws off sunshine and charm (NB: stolen from press release), the way her voice sounds wise beyond understanding, the way a pink birthing ball is resting over there by the torn-out fireplace, the shallowness of my breathing, the tears splattered across my car’s windscreen… I find myself unequal to the task. She’s not.
3. WORLD EXCLUSIVE! Live review of ‘fake’ metal band THREATIN at Camden Underworld
Surely, this is of interest? We were there. “Three people show up and one of them’s a music journalist! Jammy bastard! What are the chances of that?” Quite high, actually. It’s what we do. As keen metal fans here at How NOT To Write About Music, we posted this report a couple of days ago – but no one paid attention. So here it is again: whether the band is ‘real’ or not is not of importance to us here at How NOT To Write About Music. To us, they were real when they played. What is far more important is the question: does the band rock? And trust us, like you’ve never trusted a music critic before: this band… well, read for yourselves.
4. How NOT to write about music – 25. Salad
Where are we now? This is silly-good catchy. This is Elastica good. Also, it reminds me of my long-term Worthing sweethearts La Mômo… and that makes me happy. Don’t know why the following is only a short preview, but why the fuck not. First new stuff since 1997 apparently, but … uh … not that I’d know it. So catchy I wanna go back and listen to the old shit, see if I did miss something first time round.
5. Everett True’s 10 favourite albums of all time* … and one that changed his life
This is reprinted from my Brisbane website Collapse Board, originally written for an Australian publication that never ran with the article. My original intro pretty much covers it – to this list of omissions I would now add most obviously Beyoncé (Lemonade, duh), but also St Vincent, some gospel (this, for instance), Blind Blake, Metal Box (PiL), more ska and bluebeat for sure, Lee ‘Scratch’ Perry and dub reggae circa late 1970s, Talking Heads, Undertones, Tunabunny, Little Mix, some female grime (this, for instance – or this), my own stuff, Miley Cyrus (seriously), The Cramps, The Saints, The Go-Betweens (but also this!), The Roches’ first two, Daniel Johnston and so forth.
6. How NOT to write about music – 6. Wolf Alice
Wolf Alice remind me of two favourites from the early 2000s – Meanwhile, Back In Communist Russia and Life Without Buildings. With some Northern Gothic leanings and bog-standard indie guitars thrown in, obv.
7. How NOT to write about music – 31. Mumford & Sons
Mumford & Sons is shit, Cath Kitson folk shit, Occado Levellers shit. Shout it from the tops of night buses and at office parties. Waistcoat-bothering, fake folk dinner party shit. Slumming shit. Tweed clad, Morris-dancing jizz wizard shit. Tripe shit that needs to be sellotaped to a Frisbee and thrown into a fire shit. Mumford & Sons is shit. They make Bono sound restrained. They make Billy Corgan shine with integrity, Ed Sheeran shine with an inner fire, Trump dance the media with rascal grace. They put the grey into perspective.
8. How NOT to write about music – 11. Tracyanne & Danny
The Tracyanne & Danny album is one of my most played this year and it has soundtracked many a solitary train journey and rushed car ride, many an empty afternoon spent wasting away in the depths of loneliness in Haywards Heath, the overwhelming emotion being one of shock. Not awe. Just shock, delayed reaction. Other people have their Ed Sheerans and Red House Painters and that is fine. Bless them. This is not what I look for in music, not when I seek solace and reassurance and some form of comfort. I am looking for voices that can transport me out of this mess, this delayed shock – pure and open and laden with understanding. Voices that understand the secret history of The Pastels. I am looking for Tracyanne & Danny. Both singers, all their songs.
9. How NOT to write about music – 9. Amyl and the Sniffers
Watching Amyl and the Sniffers at The Windmill in Brixton yesterday evening is what I imagine it must have been like going to CBGBs in ’75. Not that there’s anything four decades old about Amyl and the Sniffers. Not even vaguely.
10. How NOT to write about music – 8. The Breeders
Hunched over in my tiny own personal space on the 7.47 to Clapham Junction, eyes closed, trying to ignore the brutish commuters walking in desperate search of a seat banging into my tucked-in elbows and nearly upsetting my flask of homemade coffee, headphones wrapped tight round my head, hunched in more, trying make myself so small as to be invisible, retreating further and further inside, so wanting to create a tiny inviolate bubble, I make the decision to play the last Breeders album on my crappy iPhone (battery lasts 30 minutes max). This is a big moment for me. Back in April, a day before my birthday, I wrote a blog entry for The Friendly Critic that I later turned into a song and performed several times on stage, about how I found myself unable to listen to the new Breeders album, how listening to the new Breeders album upset me, how the very idea of being upset by listening to a Breeders album upset me, and how…