Sunday, December 30, 2007
Thursday, December 27, 2007
Slow Club - Because We're Dead
Here they are, more or less in descending order (at least the first ten!):
The Clientele – God Save the Clientele
Pants Yell! – Alison Statton
Love Dance – Result
Butcher Boy – Profit In Your Poetry
California Snow Story – Close to the Ocean
The Loves – Technicolour
Louis Philippe – An Unknown Spring
The Royal We – The Royal We
The Dreamers – Day For Night
Afternoon Naps - Sunbeamed
The Postmarks – The Postmarks
Club 8 – The Boy Who Couldn’t Stop Dreaming
A Smile and a Ribbon – The Boy I Wish I Never Met
Trembling Blue Stars – The Last Holy Writer
The Orchids – Good to Be a Stranger
The Hermit Crabs – Saw You Dancing
Cats On Fire – The Province Complains
The Sunny Street – They Hurt You Every Day
The Hepburns – Something Worth Stealing
BMX Bandits – Bee Stings
Tullycraft – Every Scene Needs a Center
The Urges – Psych Ward
All My Friends – All My Friends Get Hung Up
Celestial – Dream On
Soda Fountain Rag – Sometimes I Wonder If You Have a Heart
The Icicles – Arrivals & Departures
Annemarie – ABC On TV
Ferns – On Botany
1990s – Cookies
The Owls – Daughters and Suns
The Red Button - She's About to Cross My Mind
The Lodger – Grown-Ups
Souvenir – 64
I've probably forgotten something...
Tuesday, December 25, 2007
Monday, December 24, 2007
Sunday, December 23, 2007
The decibel level at the sparse gallery in southern Malmö was notably low for a POP show, and the atmosphere hushed. Anthony Rochester (from Tasmania!) even felt compelled to whisper his banter. He opened with a tasteful set on Danelectro guitar and ipod backtrack. A few members of the secretive local act Testbild! joined him for a some of the songs, and these later made up Matt's backing band - together with Anthony. At the most there were five of them, as you can see. I hope it says something about the talent of the Testbild! members that they'd only rehearsed for two days and still played a (as far as I can tell) note-perfect gig. The line-up with vibraphone and the occasional trombone made for a slightly different sound than on the record - I'm looking forward to hearing the song they recorded together! I only recognised the first song ("Beautiful Mover") as they played mostly Matt's new material, and a few from the latest album Something Worth Stealing which I still have the pleasure of hearing to look forward to.
The last time that happened to an indiepop group seems to be with Camera Obscura's Underachievers Please Try Harder, and even though only a mere four years ago, it's hard to see that as a possibility these days. If AS had come out in 1998 I think Pants Yell! would be Everywhere now. Even though there isn't a huge development in Andrew's songwriting skills (last year's Recent Drama was already a work of genius) there's a clear line of development from their first release Songs For Siblings: fuller, more intricate arrangements, crisper sound and the quirky song-structures have been bent into one immaculate pop hook. And obviously Carly's distinct drumming is gone, but Casey brings new textures to the songs that create yet more variation.
From the perfect opening track "More Purple" with its brass-driven sound, followed by the more old-school Pants Yell! sound of "Reject, Reject" that was a live favourite last year already, then "Tried to Be Good" which is the first of two big POP! songs on the record, Andrew's own favourite (and maybe mine too) "Evan's Way" follows in mellow and more autobiographical tone and is perhaps the best example of how this time they've got the guitar sounds Just Right, "A New City Life" is the songs that sticks out in the middle with it's unprecedented use of distortion, "Magenta and Green" is the other irresistible pop rush and suddenly you glimpse an influence from the British indiepop of the 80s that I know Andrew loves but that hasn't been tangible on their previous efforts, "Shoreham Kent" is AS's "Simple Things" and over in just over a minute, "Alison Statton" then is its "Boy With the Arab Strap" (or why not "Too Much Love"?) with a bouncy piano that won't let you leave the dance floor, and it's tempting to see "The Royal We" as a mirror image of Belle & Sebastian's mention of another contemporary Glasgow group but it actually isn't, the acoustic "For Dee" is almost prettier than "Pony Tales", and through to the end with "Two French Sisters" that must be one of the best closing tracks on a pop album ever (though I admit being slightly biased in that evaluation!), this is one of the most important coherent recordings of the decade.
CLOUD 30 Pants Yell! - Evan's Way
Friday, December 21, 2007
I've listened to, and fallen in love with so many new bands this year. More than ever, and I find it hard to believe it would be possible to listen to more music than I have done. Also, you have to consider what I have chosen to call 'the Indietracks effect'. What made the festival so important is that there is now actually an indiepop scene, at least in the UK. I think many of the bands, fans, writers, promoters and label owners met out there at Butterley. So here is my list of the Heaven Is Above Your Head/The Rain Fell Down scene - the names of 2007.
The School/The Jerks/The Voluntary Butler Scheme/The Loves, Butcher Boy/All My Friends, Slow Club, Bubblegum Lemonade/Strawberry Whiplash, The Paralellograms, Horowitz, The Royal We, Esiotrot, The Urges, The Fallen Leaves, Pocketbooks, Afternoon Naps, The Dreamers, Moscow Olympics, For Ex-Lovers Only, Pains of Being Pure At Heart, The Bridal Shop, The Hermit Crabs, Clay Hips, The Sunny Street, Liechtenstein, Wake the President, Northern Portrait, The First Division, The Local Heroes, Nalda, Burning Hearts, The Deirdres, Soda Fountain Rag, Beach House, The Felt Tips, Ferns, Maria, Catwalk, The Hillfields.
But as usual, it hasn't all been about new music for me. So here's a list of my biggest obsessions this year - this means that at various points I've been convinced that each of these was the best band/artist EVER.
The Dovers, The Foxgloves, The Relict, Bomb Pops, The School, The Squires, Reserve, Laura Watling, Billy Nicholls, The Suede Crocodiles, Brittle Stars, Paul Chastain & Ric Menck, Life Without Buildings, #Poundsign#, Joe Meek, The Popguns.
Wednesday, December 19, 2007
In March we're hoping to present an intimate performance from Glenn Melia (St. Christopher), in conjunction with On Our Honeymoon in Gothenburg, but more news about that next year! We might even have something coming up in February...
And just one more thing - if you haven't overdosed on Christmas Indie yet you HAVE to get "Wombling Merry Christmas" from here. As far as I know it's the first song from The Voluntary Butler Scheme available for download. Rob's unloved, extra-curricular (forgive the pun) activities are recent favourites, and I'm hoping for a grand release next year. 2008 might just be Cardiff's big year, with albums from The School and The Loves speaking for it.
Also from Wales, The Hepburns are coming to Sweden! Well, just Matt really, accompanied by members of Testbild!. They're playing at Galleri Krets on Friday together with labelmate Anthony Rochester. Indiepop legends as they are, The Hepburns have been on the scene for about 20 years, with their latest effort out this very year! Here's the first track off of Something Worth Stealing. See you there.
Tuesday, December 18, 2007
CLOUD 29 A Smile and a Ribbon - Heavenly Christmas
Rose & Greg - Merry Christmas (I Don't Want to Fight Tonight), from WIAIWYA.com
Pocketbooks - Christmas In Your Sights, from Emma's lovely blog Quick As Rainbows
Only Joe Kane - The Guy In the Grotto, download here.
The School - Kiss You In the Snow, dowload here.
The School - Let Me Be the Fairy On Your Christmas Tree, listen here.
The film has been released on dvd in the US, but it's out of print. So imagine my joy when I came upon this blogpost at I'm Learning to Share. Not only can you get the original version of "While I'm Still Young" by Lynn Redgrave - there's a link to the Rita Tushingham Home Page! From there you can order vhs or dvd copies of most of the films she's been in, including Smashing Time.
So, about the song then. In the film it's a hit recording by Yvonne (Lynn Redgrave). She can't sing but after flicking some switches in the studio it suddenly sounds hip! The vocal is still hilarious though, and I was quite frankly shocked when I first heard it. Since then I've started to dig it more and more and now I think it's genius!
Thursday, December 13, 2007
Pam sings on the Castaway Stones side, of course, and it's no lie to go as far as calling it their best recording ever, certainly inspired by Meek's sound in the production. I couldn't think of a better Christmas present to give you than this:
On another Friday night we went over to Copenhagen and the cool Club Mau Mau, where our friends were playing records. The support band for The Masonics was a pleasant surprise indeed. The Phantom Pillow (may the name have anything to do with this guy's Vox copy?) from Denmark is a brand new garage group who were actually doing their very first gig. They went down really well with crowd, with their extrovert female singer, inspired covers ("Going All the Way" by The Squires!) and rocking originals. The Masonics gig was probably the best thing I've seen this year - they had such an aura about them. In the middle of their set, I was quite shocked when they invited Miss Ludella Black on stage, to sing on some tunes!
I'd seen her by the merchandise table earlier and thought she looked like Ludella. It definitely hadn't been announced that she would be on stage too! And it was cool just watching her dance in the crowd during the first part of the set. On stage, she contributed to some of the best songs of the set, like a version of "Why Don't You Smile" and the new 7" (split between her and The Masonics) which was the loudest song of the night.
Monday, December 10, 2007
The Cake – World of Dreams
Catwalk – I Think Too Much
The Hillfields – Spoon
All My Friends – Up and Down the River
The Magic Shop – It's True
#Poundsign# - Walking and Talking
The Delmonas – He Tells Me He Loves
The Masonics – No Desire For Revenge
Christine Pilzer – Ils pataugent
Bad Dream Fancy Dress – Kick In the Teeth
Chin Chin – Never Surrender
Tibi Lubin – Romany Rye
We the People – Alfred, What Kind of Man Are You?
Bubblegum Lemonade – That Thing You Do
The Manhattan Love Suicides – Head Over Heels
The Cookies – I Wanna Boy For My Birthday
Clothilde – Fallait pas écraser le queue du chat
Laura Watling – It’s All I Can Do
The West Coast Pop Art Experimental Band – Transparent Day
The Visitors – I Remember
Billy Nicholls – London Social Degree
Adèle – Jái peur parfois
The Yellow Balloon – Springtime Girl
The Volutary Butler Scheme – Laundry
The Airfields – Yr So Wonderful
Bright Coloured Lights – Leave You Behind
Rocketship – Your New Boyfriend
Majestic – Nyra and Michelle
The Lucksmiths – Up
The Jazz Butcher – Soul Happy Hour
The Pinefox – Her Lost Polo
Wake the President – Remember Fun?
The Left Banke – I've Got Something On My Mind
The Clouds – Jenny Nowhere
Horowitz – Hug Target
The Pains of Being Pure At Heart – This Love Is Fucking Right!
The Bristols – True True Lovin'
Jan & Dean – She's My Summer Girl
The Groove Farm – It Always Rains On Sunday
Maria – Friends Forever
The Jaywalkers – (You Can’t Be) Happy All the Time
The Big Gun – Heard About Love
Dolly Mixture – Will He Kiss Me Tonight
Miss Ludella Black – Is It True
Liberty Belles – Shing-a-ling Time
Lynn Redgrave – While I'm Still Young
Strawberry Story – Freight Train
The Royal We – All the Rage
Komon – Poetry For the Winter
The Autocollants – Butterscotch
Tullycraft – The Punks Are Writing Love Songs
For Ex-Lovers Only – Mindy le Findy
Pants Yell! – Magenta and Green
Well, at least I managed to squeeze two Sha-La-La tracks in there!
Tuesday, December 4, 2007
CLOUD 27 The Cake - Fire Fly
Sunday, December 2, 2007
CLOUD 24 V/A - Too Many Christmas Trees
(Christmas is over...)
Saturday, December 1, 2007
So what's the December news for Don't Die On My Doorstep? Well, we're taking a bit of a winter/xmas leave and will be back in the new year, at a new venue. But if you prefer your snow with some pristine indiepop, you should go to On Our Honeymoon in Gothenburg, which I will be guesting on the 8th. And so will The Felt Tips from Glasgow! I'm so impressed with their debut ep on Cloudberry, and more than a bit proud of them. I saw them a year ago and listened to their demos, which I liked. But then seeing their set at Indietracks, where they played in the wee church at Butterley station, everything changed. They didn't have their drummer (see empty stool above), which really brought Miguel's jangly playing to the front, and the acoustics were excellent. Now listening to the 3" I'm so pleased with the mixing, that is trebly to the point of a Happydeadmen production. But with those lyrics, I hope it's not a honeymoon diary! It's their only gig in Sweden so I hope people travel wide and far. The other guest dj is one of the two guys who arranged Rip It Up this summer, called Johan.
Oh, you've got this right?
Thursday, November 29, 2007
The Urges - Salvaje
The Factory - Try a Little Sunshine
The West Coast Pop Art Experimental Band - If You Want This Love
Delphine - Les prisons de sa majesté
Dana Gillespie - You Just Gotta Know My Mind
Watermelon Men - You Should Be Mine
The Motions - Who'll Save My Soul
The Bristols - I'll Be Gone
Miss Ludella Black - Love Pours Out of My Heart
Kaleidoscope - (Further Reflections) In the Room of Percussion
The Clientele - 100 Leaves
Pamela Blue - Me Friend Bobby
Glenda Collins - Been Invited to a Party
Clothilde - Saperlipopette
We the People - Look At the Girls
The Left Banke - She May Call You Up Tonight
Billy Nicholls - Girl From New York
The Basooties - You Didn't Try to Call Me
Chris Morgan & the Togas - Would You Believe (Love Is Dead)
Elsa Leroy - Mieux vaut tard que jamais
The Fallen Leaves - Choose
The Litter - I'm a Man
Songs We Taught the Fuzztones
Wednesday, November 28, 2007
Saturday, November 24, 2007
Wednesday, November 21, 2007
Another 7", that has yet to arrive, is Wake the President's second offering "Remember Fun?", which I've been looking forward to for a while. Both the songs have been up on Myspace so I know how great they are. I hope you all voted for them on Radio 2 - I certainly did. I'm not surprised they got single of the week! I think they're playing in London soon, so look out.
It's all 7" today apparently. The last one that deserves mention is the the debut from Zoey van Goey, released by Erik and Björn incidentally, on their Say Dirty Records. The a-side is definitely the best song I've heard from them so far with its lackadaisical strum. It's produced by Stuart Murdoch, but I don't think he needed to do much anything because they've had their act together since the start. Also, B&S trainspotters should be overjoyed to know that Bob Kildea plays bass guitar here.
By the way, I just discovered that The Thanes are playing at The Woodside on Saturday! Why does Edinburgh have to be next to Glasgow instead of Malmö?!
CLOUD 23 The Royal We - Willy
Tuesday, November 20, 2007
Monday, November 19, 2007
CLOUD 22 The Big Gun - Happens All the Time
Sunday, November 18, 2007
Saturday, November 17, 2007
Friday, November 16, 2007
Thursday, November 15, 2007
Saturday, November 10, 2007
Monday, November 5, 2007
Testbild!'s fourth album Une Teinte Intense came out earlier this year (which means I have missed their third one) and is inspired by Isabelle Eberhart. It contains excerpts from her writings, read by Katja as it were. Eberhart was an explorer and writer born in Switzerland in the late 19th century. She travelled widely in North Africa, disguised as a man. She sided with the local population against the French occupants, converted to Islam and married an Algerian soldier. She died in a flood at the age of 27, but her writings were rescued. There is definitely a North African air over the record, with its sun-bleached imagery and distant muezzin voices. Still it puts me in a Christmas mood, but maybe blazing hot sand dunes is a thought that is quite welcome in the autumn cold. No, I think it's more due to the vocal harmonies - as distinguished as on any Louis Philippe song - that sound decidedly Swedish. As I only have Testbild!'s second album, I can only compare it to that. The Inexplicable Feeling of September was a blatanly autumn-themed record with a warm analogue sound. Une Teinte Intense is much lighter (and shorter) - like an oscillating mirage. The compostions are slower and more acoustic, with fewer synthesisers and no electronic beats. The obvious stand-out track is "The Moorish Café" (just ask Louis Philippe!).
But even better is the debut album by The Dreamers - the best thing Friendly Noise have done so far! Day For Night has finally been released now and Kevin Wright and Sarah Nyberg-Pergament have done their first shows in Sweden (the picture above was taken in Finland). Too bad we couldn't book them, I hope we didn't miss our only chance. Anyone who has heard their previous projects and fallen in love will not be able to resist this wonderfully matched duo. I saw them play as Mr. Wright and Action Biker respectively at the Mitt Sista Liv festival in 2004, which is also where they first met. The first song they wrote together, "Petit Nuage", is in the autumn mix below. You can get both records from Friendly Noise or Darla.
Well, I volunteer to start. In one of Delicious Goldfish's mailorder mail-outs about new second hand-stock there was a rather off-hand mention of some Sarah Records singles. So I emailed to ask which they were. Because this was two and a half years ago and I had never seen a Sarah release before and hadn't come across a mailorder that had any. There were two Another Sunny Day 7"s and I decided to go for the oldest one. 150 SEK was the most I'd paid for three songs at that time, and since then I've found you can get these things a lot cheaper. I hadn't heard Another Sunny Day, although I'd been reading lots about them and knew I would like them. The only bands on Sarah that I HAD heard were Heavenly, The Field Mice and my first love of the name Sarah - Brighter. Well anyways, it turned out that I had gotten my hands on the very best one, I'm usually quite lucky that way. Because with "What's Happened?", "Impossible?" and "Can't You Tell It True?" on it there's no arguing about it, is there? I remember opening the parcel, feeling this curious artifact in my hands for the first time. I thought it was the most beautiful thing I owned. And I loved the fact that all the songs ended with a question mark. I put it on the turntable and lowered the needle, there was some crackle and then the world-toppling pop noise that is "What's Happened?" blasted out the speakers. It's very under-produced, but it sounded like nothing I'd heard before and I still think it would be near-impossible to create that sound again. The only band that has ever been fairly compared to Another Sunny Day is Love Dance. Their "What Does This Tell You?" is not far off the mark, but it sounds HUGE compared to this tiny miracle. It's so crisp and they way the drum machine and the almost percussive acousic guitar mesh together is wonderful. And that 'solo' at the end makes me want to die every time. One of the best 50 songs ever? Yes.
Read what Erik and Kalle have to say on MySpace, but you might need to catch up on your Swedish first. You'll find "What's Happened?" somewhere below!
Sunday, November 4, 2007
Don't misunderstand the title - we love Jimmy! In fact this is Matinée's 10th anniversary, so in the onslaught of new fabulous indiepop records don't miss out on their new batch of releases. Our friends from Glasgow, The Hermit Crabs, have finally completed their brilliant debut album Saw You Dancing. If you've heard any of their previous output you know this is an essential pop album! Jimmy, being the nice bloke he is, lets you download the instant hit "Friends Folk Festival". I've only heard this live before and the recording definitely adds a lot to it in arrangement and production. Also availble is the first offering from Math and Physics Club since their first album. Hearing "Baby I'm Yours" brings back pictures of listening to their two previous eps on the bus from Glasgow to Edinburgh, and that's an excellent effect if you ask me. I can't wait to buy these along with the Lucksmiths compilation Spring a Leak, the anniversary release The Matinée Hit Parade and forthcoming eps from Danish Northern Portrait, Swedish The Electic Pop Group and Scottish Strawberry Whiplash/Baby Lemonade. It's almost become a tradition for me to place an order with Matinée around Christmas (as you have to order ten cds at a time if you're not in the US), one you should adopt too!
The Lynch connection? Well, I went to a David Lynch themed party yesterday, and also Inland Empire is in the cinemas over here now (like, half a year late!). I saw it this spring, as a matinée screening, and I still think it's the best film of the year and I'm looking forward to seeing it again at a cinema in Malmö called Spegeln ('the mirror'). This was the only decent cinema in town and scandalously closed down before the summer due to financial reasons. It's got a new owner now though and is about to open up again. A relief, since I no longer have to travel to Gothenburg to see a good film...
Tuesday, October 30, 2007
Monday, October 29, 2007
Saturday, October 27, 2007
There are some things I feel uncomfortable about. Like how they say indie wasn't cool, sexy, arty or fiery. That just depends on your ideals. I don't think there's anything sexier or cooler than Orange Juice, Josef K or Subway Sect. You only need to take the smallest step outside of the heterosexual, patriarchal bubble to realise that. It's all about creating another universe, which is what subcultures essentially are. Mainstream 'cool' is one thing and indie 'cool' is another. Originally pop was a subculture, perhaps one of the first big youth cultures. It was just the kids who listened to rock'n'roll in 1955. And every label was an indie label. When pop became mainstream, punk became the new subculture. Punk, actually, started in 1965 with garage groups like the Count Five. And from 1978 onwards it splintered into a million fractions - from death metal to acid house.
Then of course indie became mainstream, just like punk had. That's why indie is such a nullified word today, and we have to make up our own names. No one really called it anorak, or c86, or shambling - back in the day. I prefer to call it just 'pop', because my definition of pop is quite narrow as it is. For me indie from the early 80s was pop, the rest was an extension of advanced capitalism and the 'record industry'. Even if artists like Madonna had a great deal of self-control, they let themselves become products. That doesn't mean bands like McCarthy were radical or opposed the system; after all their records weren't for free (although the say that in one of their songs!) and their goal was to be on Top of the Pops. But like all creative output it's a comment on society - be it its politics, one's own subculture, the commodity value of pop etc.
It's hard writing about pop and eschewing all preconceptions and clichés. Twee As Fuck tries to generalise, make it simple. If you write about music you have start from the other end, from our own experiences. Then you can start deconstructing, contradicting, complicating. But in the end it will always be about yourself, getting closer to 'what you think'. And never be boring!
Unfortunately indiepop records are becoming all the more collectible = expensive. Big companies (like eBay) are trying to profit on our subculture. The result is that the subculture is becoming all the more splintered and crystallised. While 'indiepop' is quite big, there's only a few thousand people around the world who listen to the same bands as me. I don't know if it would be preferable for everyone to suddenly start listening to The June Brides. The important thing is that there is enough enthusiasm from young people to continue creating this pop stuff. And that can come from fanaticism as much as populism. It reflects the tricky issue of how popular indiepop fans want their bands to be. They want them to be successful and recognised but not to turn into a new U2.
Another tricky issue are the accusations of asexuality, childishness, feyness and other things embedded in the 'twee' term. The article discusses this in relation to Sarah Records and how a band like The Field Mice can be seen as very introverted, afraid of the Afro-American roots of pop music. The attributes lined up seems more true for a group like Kraftwerk, who ironically became an important link in the evolution of dance music and hip-hop. The Field Mice did what they could, with the means offered them. Who would prefer two Englishmen playing awkward reggae over a Jamaican band? These days Wratten admits listening more to dub than anything else and he never understood the twee tag. True, they weren't very sexy, but they approached sexuality on an intellectual plane - in their lyrics and in their gender identities. And it was always passionate. True, they were more feminine than masculine. But why can't a male duo be feminine? Art is always more interesting when you start messing with the gender roles. In the 60s it was ok for girlgroups to be feminine and garage groups to be masculine. But in the 80s and 90s the anti-rock stance of Razorcuts and the feminism of Bikini Kill was a necessity. When Sarah Records first set up and still to this day, pop music was male dominated - as was the 'indie scene'. So why not weigh it up with some queerness?
As for machismo vs. naivety - I agree with David Brogan that the only thing I want music not to be is 'muscular'. It can be raw, primitive, dirty and loud, but when that word comes to mind it just feels wrong. That's why I don't like the word 'rock' either, because I associate it with 'muscular'. Muscular can be good in mainstream contexts as it is certain subcultures, but pop should never go there. "We were never the guys in school who played guitar, who had long hair and were into Rush", Wratten has said. So why should they pretend? That's not saying The Field Mice didn't have their not-so-fey moments. Pop is essentially postmodern, which means it can never be described as solely being one thing. Pop can be naive sometimes, perhaps even dumb but that's not what makes it good or bad, unless it's a conscious stance. Many bands on Sarah had an element of romanticism, in believing in the beauty of the misunderstood artist, nature as inspiration; 'pastoral', the music and its images were often called. Subcultures are symptom of the postmodern, like avantgarde was a modernist notion. So as soon as the bands on Sarah started feeling pigeonholed they reacted and went in new directions. Pop is so self-conscious.
The last thing I disagree about is the analogy about folk and pop music in the 60s. Surely what was pop and what was folk in the 80s was the same as in the 60s. Anyone could listen to folk music in the early 60s - kids and parents. But pop was rebellious, youthful. True, folk artists like Dylan approached political subjects in their songwriting and students took them to their hearts. But The Shangri-Las were political in a more direct way, simply through their existence. Anyone could become a pop star. But not everyone could go to college or university. These days pop has slightly more political lyrics, perhaps a reflection of the higher standards of education. But the music most closely associated with radical politics is reggae, traditional punk and hip-hop (still). The Pastels, just like Beat Happening were never political in an outspoken way, but everything about them was radical, and to some people threatening and an object for ridicule and restriction.
Is there anything in spontaneity?
Is the only way to know
and do like they say and just be?
Friday, October 26, 2007
The Milkshakes – Rhurge Beat
The Sequins – He's a Flirt
The Loves – Honey
The School – Let It Slip
Ria Bartok – Ecoute mon coeur
The Cyrkle – How Can I Leave Her
The Claim – Wait and See
The Popguns – Bye Bye Baby
Black Tambourine – Drown
The Pandoras – It Just Ain't True
The Dovers – The Third Eye
Ariane – Tu voudrai que j'oublie
The Undecided? – You’re Gonna Cry
Paul Sindab – Do Watcha Wanna Do
The Urges – Gonna Find Out
The Pretty Things – Come and See Me
The Delmonas – I Feel Like Giving In
Diane Lewis – Keep a Hold On Me
The Sorrows – Let Me In
Razorcuts – Try
Revolving Paint Dream – Sun, Sea, Sand
What Four – I'm Gonna Destroy That Boy
The Fizzbombs – You Worry Me
Bomb Pops – Decal
The Siddeleys – Something Almost Brilliant Happened Last Night
The Pastels – Crawl Babies
Majestic – Tumbling
CLOUD 16 Life Without Buildings - 14 Days
Sunday, October 21, 2007
On Tuesday American dreampop duo Beach House are playing, which I am very much looking forward to. And I'm playing records again on Thursday. At Klubb K3, Vinylbaren, if anyone can be bothered.
This post could just as well have been titled Circumspect Penelope.