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The end of Orbital

Orbital to bow out at Glastonbury 2004 – NME.COM

Orbital are to play their last ever gig headlining the Other Stage at this year’s Glastonbury Festival. After the release of the new album, the imaginatively titled Blue Album, they’ll be disbanding since they think they’ve gone as far as they can with Orbital.

It’ll be sad to see them go. Probably the finest techno act the UK has ever seen, and one of the world’s best. Certainly my favourite.

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Evanescence: Fallen

Number 7 of 2003 — Evanescence: Fallen

Ah, the Amy Lee Band. A bit of a surprise this one, and it certainly wasn’t on this list the first time I listened to it. It all sounded the same. Same arrangements. Same guitars. Same everything. But there’s more to it than that — you just need to dig. It’s this digging that keeps me coming back to this album. I could play it for a hundred years and never get bored of it. Do you want your music handed to you on a plate? Well I don’t. I want to work for it sometimes. Music is my life, and I like life to be interesting, to challenge me and to make me think. This album does all of that for me. I didn’t write "predominantly secular" in an earlier post for nothing, you know ;-)

Four myths about Evanescence:

  • That it’s all about the guitars. Not true. It’s all about the voice. Amy can sing. Really sing. Dido cannot (well, apart from four well chosen notes). No Amy’s voice doesn’t grate – it just means you’ve got a poor hi-fi.
  • That it’s nu metal. Not true. The beard count is too low for that.
  • That they are spiritually neutral. Well, that’s what Amy reckons. Please, who is she trying to kid? Sure, the teenies that buy this might just pick up on Tourniquet, as a bit, whisper it: religious, but this album is drenched in their faith. Don’t be so defensive!
  • That it’s depressing. Not for me it ain’t. I’ve been in some dark places at times, and come through them.

Now, I won’t pretend I buy into the beliefs documented in this album, so there will be no in depth examination of the lyrics for this review. However, I will say this: why do secular bands steer clear of spiritual terminology? I could write a whole blog, never mind one entry about this issue. Does life mean nothing to them? Yeah, like it’s all Charles Darwin and Stephen Hawking. I don’t buy that: the scientific struggles and wild hypotheses caused by String Theory and the race for a Single Unified Theory is evidence of that. To think I wanted to be an astrophysicist when I was in my early teens. Sheesh! Just leave it alone.

Anyway, back to the album in hand. This is their second album, after Origin, of which some tracks have been reworked for this album. Fallen irritates me no end. So, why is it in my albums of 2003? Because of the potential. Strip away the production and you have two people who write proper songs (that’s not meant to be patronising). There’s talent here and it needs harnessing. Aside from the occasional misfired lyrics, which may be there just to scan well, Amy’s words are beautiful, heartfelt and real. What she sings she means. The scarce times when we have the opportunity to hear just voice and piano shows what’s good about Ben and Amy.

Musical points to note: The orchestral bridge between Tourniquet and Imaginary. The second best bridge I heard last year. (The best bridge appears on my Number 2 album which I’ll disclose much later in this blog. It’s not even a bridge though. Curious? Wait and see.) Neither am I sure about the choir at the end of Whisper. It’s all a bit melodramatic and obvious. They should have tried something innovative to sign off with. Try Abwoon (Our Father) from Lisa Gerrard and Patrick Cassidy’s album Immortal Memory for innovation. That’s flawless.

So, my tips for the next album. Firstly the flippant. Amy and Ben, come round to my place and I’ll give you some great ideas. Bring that piano guy too.

Now, the more considered:

  1. Ditch the electric guitars. They do sound the same on almost each track. The same two note riffs that pound percussion-like are tedious. Only on the last few tracks do we get some genuine fluidity (My Last Breath). Witness the disaster caused by them after the beautiful intro for Taking Over Me.
  2. Ditto with the drum loops. Or spend some more time preparing them. Some bands spend weeks sorting these out. They’re critical parts of the arrangements, and should be treated as such.
  3. Listen to Faith in Space by Lida Husik. Ideas in spades there.
  4. Spend some more time examining the structure of your music. On first listen, the album is crescendo piled on top of more crescendo. It’s not quite that bad — it’s all relative I guess — but there needs to be more dynamic.
  5. Listen to Tori AmosWinter and cry your eyes out. Or just read the lyrics. It does the same to me either way. No other song in the world does this to me.
  6. Make some space for Amy’s voice. My Immortal works phenomenally well because of this, despite the Enya piano trills. Less is more. Cowboy Junkies recorded The Trinity Session live, in the Church of the Holy Trinity in Toronto, direct to tape with one omnidirectional microphone in one day for 250 canadian dollars. It can be done.

So, what will we have for the next album? Will it improve on this? Will it be more of the same? Will Evanescence go all secular on us, as is being touted on the rumour mills. Will they sell out? I can’t wait to find out.

when you cried I’d wipe away all of your tears
when you’d scream I’d fight away all of your fears
I held your hand through all of these years
but you still have
all of me

Says it all really.

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Flash Not Flash

Square Feet Studio

Here’s a website for what looks to be a very nice design company. They refit penthouses, do corporate re-designs. The usual multi-new-media-whatever-we-can-lay-our-hands-on outfit. They also have a website.

It’s done in Flash.

All of it.

With one or two exceptions, there’s nothing that couldn’t be done in standard HTML, or a bit of JavaScript. But, their new-media fetish got the better of them, and they wanted a snazzy website done in Flash. So, we get a website where you can’t cut text from, or copy images from (which might be important if you’re trying to convince someone that you should go with these guys), or increase the size of text for those with poor eyesite, or bookmark pages of interest.

Another bonus is if they want it changed, they have to go back to their designers. So the site is likely to be less up-to-date than they’d like it to be. Probably more expensive to maintain too.

Now, I have nothing against Flash. It’s a great tool. But it’s only a tool. As a web designer, I actively disuade clients from using technology unless it’s essential for the job. This website could have been developed just as effectively with HTML, CSS, and JavaScript and been more usable and useful too.

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Knackered

Am I allowed to have a title called ‘Knackered’ or am I coming over a bit Carry On? This afternoon I finished a fairly mundane web job which involved re-purposing printed content onto a website. Nothing mind stretching about it. But, I can tell you, having spent yesterday and today on it, I’m exhausted.

What’s strange is that I can happily spend hours on end working on software and I don’t find that tiring at all, even though it arguably requires more thought and concentration.

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Snowplough workers on strike?

According to The Press and Journal Highland snowplough workers are threatening to go on strike if their pay dispute is not resolved at an employment tribunal.

There are only four of them, so it may be none of them realises that we’re not in winter anymore, so the threat of a strike is a bit daft. Surely it’s better for them to make threats round about October time which is when we can start to have snow up here.

For what it’s worth: I think they have a very good case. If they’re not allowed to work in the mornings following a night out with the ploughs, then they ought to be properly compensated.

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Sleater-Kinney: Dig Me Out

Number 8 of 2003 — Sleater-Kinney: Dig Me Out

Ah, the early 1990s. Back when I had a well paid job, more hair, and I could drink more without falling over and/or falling asleep. It was also a time when the world’s music press was getting all hot and bothered over riot grrrl. Riot grrrl — as a musical movement rather than an organisation for feminist activism — passed me by. What I heard was sub-1976 punk: disorganised, unlistenable, unpolished and instantly forgettable. But the music was only half the point.

Sleater-Kinney were inspired by the riot grrrl movement – in particular Bikini Kill, and started releasing albums in 1995. This is their third album: the one that brought them critical acclaim, and the one that confirmed them as leaders of “queer punk” (?). I usually reserve my album-of-the-year lists for ones released in the given year but I’m making an exception just this once – I think.

From the very first bars of Dig Me Out, there are two things apparent: there’s an energy and passion about what they do; secondly, they eschew the traditional melodies of rock music for something a little more edgy and different to the ear (q.v. Sonic Youth). Yes, they can play their instruments (but of course you’d expect them to). I’m listening to this album now, and I’ve realised I don’t just like it a lot. I love it.

Turn it On, is based on a monster groove that takes off during the chorus into anthemic proportions. The break towards the end is a spine-tingler. Heart Factory blows hot and cold: “You bring your heart to us we’ll get it purified. What are you waiting for”. Words and Guitar is a song written in frustration at those who put obstacles in the way of their chosen career. In fact, pretty much all of the album is geared this way. But, on Not What You Want Corin Tucker sings about her surprise at a man asking her what’s wrong: “Do you wanna get the wheel / Swerve my heart / It pounds with steel / He said tell me baby what’s wrong.” and on the girl-crush song Buy Her Candy the song alternates between praising and damning a lover who can’t be lived with or abandoned. There’s love, desire and passion in those words, although Dance Song ‘97 expresses it more obviously.

The closer Jenny ends in a blissed out haze of chiming guitars, and it’s a song that fills me with joy. It shouldn’t do. The lyrics are mournful: “I am the girl / I am the ghost / I am the wife / I am the one.” but I hear the guitars and I think “yeah”. Lots of people have started bands because they were inspired by Sleater-Kinney, and I know why.

Kristin Hersh (yes, her again), said that Sleater-Kinney were what Throwing Muses would have sounded like when starting out if they had known how to play their instruments. I think that’s a bit unfair on both bands. With Dig Me Out Sleater-Kinney created a huge hard rocking album that screams with energy. The vocal interplay, the guitars, everything. It binds together beautifully.

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Parenting Dilemmas

The Herald has a Dilemmas section in its newspaper every Monday. It’s designed to allow parents to seek peer and professional advice on issues regarding their children. Most of the dilemmas are moderately serious, and in the main, the professional advice is sound, although the peer advice from other parents can be quite extreme and laughable.

However, this week’s dilemma highlights an issue touched upon in another blog, and that is — what’s happening to parental responsibility?

I quote:

Our only child is 17 and is in her last year at school. Last week she suddenly announced she has decided to "take her gap year", as though this is her entitlement by right. She says all her pals are doing it. I didn’t have one when I was that age. Is it a good thing for a teenager? Should I be expected to pay for it?

I’ll put my views forward based on what happened to me. In contrast to most students, I spent my gap year, between school and university working in London for an IT department of an interior design company. The work was fairly badly rewarded financially, and the hours were long. However, I met loads of interesting people and learnt a lot about how to treat new people who came from different backgrounds. There was also plenty of socialising, including a phenomenal Christmas party in Pimlico.

Before I took the year off, I’d discussed with my parents what I was going to do. Their main concern was that if I liked the work, would I still quit to go to university, or would I abandon my plans and carry on working.

My friend Jon, who I’ve now last touch with, took a different approach. He went to university, got his degree and then spent a few years gaining accounting qualifications. He then quit his job, and spent a year or so travelling around the world – which of course is major intent of people who have ‘gap’ years. Correspondingly there was no financial constraint, and he was sufficiently mature enough to handle the journey on his own.

So, in answer to the questions posed in this dilemma: Yes, it’s a good idea, and No, parents shouldn’t be expected to pay.

But that’s not the problem I have with this dilemma. The problem I have is that this, and some other dilemmas seem to indicate that many parents have no idea how to treat or relate to their children. If I was in this position, I’d discuss the purpose of the gap year (and it’s not just about having a laugh with mates, which seems to be the implication), and reach an agreement about how it was to be funded. Frequently, people fund their journeys by taking short term employment at certain places throughout their trip. So parental funding could be restricted to the initial leg of the journey. The hidden concern about letting an only child out into the wide world is noted.

Has it really come to this though: that parents cannot openly discuss issues with their children any more? What about friends, family, next door neighbours? Do people trust the advice of strangers more than their own kith and kin? This is parenting by proxy, and it’s shocking.

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Verteidigungskrieg

You reap what you sow
Put your face to the ground
Here come the marching men
Your colours wrapped around

The Sisterhood, Colours, June 1986.

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