Saturday, January 28, 2006
The Future
The new Stayfun is born. View it here!
Thursday, January 12, 2006
Here's the deal...
Stayfun is looking a little sick right now. Truth be told, there's no site online currently. Like one of those old Western film sets, it's just a big facade. You see, I'm currently migrating the site from a Windows server to a Linux server, which is nothing but messy. It won't be fun for me, and I'll have to throw my head back into webdesign to make it work. But I will. I've invested a decent amount of money into this new hosting deal and I have to let that inspire me. So Stayfun will be back up again soon, stronger, looking nicer, and with new content. I'm not sure what that content will be yet, so remain patient. Some important things still remain on this page, such as my albums of the year, and a few CD reviews of acts that deserve some recognition. So if you haven't looked downwards, feel free to do so now. It's not like there's anywhere else to go at the moment anyway.
Friday, December 30, 2005
Best Albums of 2005
Yes, I know everyone has been holding their breath waiting on what I'll pick this year.
Andrew Bird :: The Mysterious Production of Eggs
Sleater-Kinney :: The Woods
At the Close of Every Day :: De Geluiden van Weleer
Audiotransparent :: Nevland
Paula Frazer :: Leave the Sad Things Behind
Scout Niblett :: Kidnapped by Neptune
Sons and Daughters :: The Repulsion Box
Tujiko Noriko :: Blurred in My Mirror
Tujiko Noriko and Aoki Takamasa :: 28
Amadou et Mariam :: Dimanche a Bamako
Maximo Park :: A Certain Trigger
50 Foot Wave :: Golden Ocean
The Evens :: Self-titled
Low :: The Great Destroyer
John Wayne Shot Me :: The Purple Hearted Youth Club
Daedelus :: Exquisite Corpse
Macrocosmica :: Farewell to Earth
Mary Timony :: Ex Hex
Menomena :: Under an Hour
Dirty Three :: Cinder
Arcade Fire :: Funeral
So there you go, my top 20 featuring 21 albums. Due to a technicality, I'm counting both Tujiko Noriko releases together as they've arrived at me late in the year and I haven't learned to tell which is which yet. That lets me squeeze in Arcade Fire. I spent a quarter of the year really not liking them much, and when I did it was because of the song 'Rebellion (Lies)'. I still feel they're a bit overrated, but judging by the amount I actually listened to it, then it's only fair I include them. Of course it was technically out in North America last year, and I knew of them then, so that bugs me too. But with its European release in 2005...well, I should stop analysing.
Andrew Bird has of course been at the top of my list since the moment I first heard it. I love everything about Production of Eggs down to the lyrics and the artwork in the booklet. When the Sleater-Kinney album came out I wasn't sure I'd like it, but it really won me over and I kept listening and listening. There aren't as many Dutch or Scottish releases on list compared to previous years, but what is listed is really good.
:: Posted at 11:10 am by Steven McCarron ::
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Saturday, December 24, 2005
blip beep - electronic ages
It's Christmas time. Yet the sun is shining (for brief periods) and it feels nothing like Christmas. So I find myself immersed in electronica, unlike the people in Rotterdam city centre, paddling through boiling water in the streets today as they attempt to finish their shopping.
Nanko - Self-titled
I've been sitting on this release for a few months now. I hate taking so long, but my favourite time for electro music is typically when I'm travelling. Unfortunately I haven't loaded up my Zen Jukebox for ages now, so I've only managed limited goes at this release on my CD player. I like it, however, and it will definitely make it amongst the MP3s chosen to dazzle my mind during future train journeys.
Nanko is a Rotterdam-based musician, but there's nothing particularly local about his sound. As such, this release is through Laterax, a label in Rotterdam with an international mentality. Apparently his musical background is guitar improvisation, but here his imagination is let loose on a broad range of electronic moods, samples and rhythms.
Described in his own press release as Brian Eno meeting Aphex Twin, there are elements of truth to it. From one point of view, the album is blessed with a lot of ambience, space and atmosphere that can really trigger diverse thoughts and feelings in your mind. Yet the tracks pulse with energy. There's a real sense of purpose and forward motion driving throughout, and with 17 tracks spread across only 42 minutes, there are so many active ideas that there's no time to lose interest.
Bored of the Boards of Canada? Try out Nanko for a real sense of composition, organics and computerised chaos.
Website: http://www.laterax.com/nanko.htm
For samples, listen to: Bicycle Pets and Brouter Wuno.
The Village Orchestra - Et in Arcadia Ego
On a personal note, I like to think I keep on top of the Scottish indie scene relatively well considering my physical distance from the country. I know about upcoming bands and who's playing where. Unfortunately, when this CD dropped through my letterbox, I learned there was a whole Scottish electronic scene I was completely oblivious too. For the rest of the world that's a positive, but I hate being caught unaware.
It turns out The Village Orchestra is Ruaridh Law, an electro experimentalist, and one third of Glasgow-based electronic outfit The Marcia Blaine School For Girls. I now realise the latter have been receiving plenty of plaudits over this past year and are an act to look out for. And judging from this solo project, The Village Orchestra have also got some goodness to offer.
In contrast to the Nanko release reviewed above, The Village Orchestra sit much more comfortably in the ambient category. The songs feel fluid and relaxed, capable of being manipulated slowly into any form Law desires. And that's exactly what you hear. Tracks build upon themselves step-by-step, taking you on casual journeys then easing themselves back down to 0dB again. Sometimes the sounds are purged from the organic world, sometimes born from distorted scratches, glitches and crunches, but the balance makes for a pretty result.
At 58 minutes, it's a fairly long piece of work that's very roomy. But while the songs enjoy long repetitive stretches, the album actually improves as you go through it. Once again, it will be a welcome addition to my Zen Jukebox. Definitely one to check out.
Website:
http://ruaridh.marciablaine.com/
For samples, listen to: Love Theme From Two Man Rumble.
:: Posted at 3:23 pm by Steven McCarron ::
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Wednesday, November 30, 2005
Laterax Rotterdam
For anyone in the area this weekend, Laterax records is putting on a show this coming weekend in Rotterdam. Amsterdam's Sykosonics and Rotterdam's Politics will be performing in a little venue in the north of the city called the Little Cave. To be honest, I've never heard of the place before - my bad - but it's two very good bands and it's free.
:: Posted at 9:10 pm by Steven McCarron ::
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Sunday, November 27, 2005
Serenity - Netherlands
Recently I've found myself writing a bunch about films rather than music. Not on this website obviously, but maybe I should change that. Anyway, I was a big fan of TV series Firefly and with it resurrected for the cinema recently, here is my rather defensive, pleading, not too original review of Serenity. It was published in last week's Amsterdam Weekly, and there is still time to catch the film in NL if you haven't already.
Space adventures are rarely box office hits these days. Sure, there was Star Wars, but does that even count anymore? While the original movies are immense fun and mean so much to so many people, the prequels are an embarrassment by comparison. Episode 3--Revenge of the Sith just about scraped by with passing marks--the stale script and wooden acting can only be forgiven because of the special effects and nostalgia factor--but it's definitely not a defining moment in the history of cinema. Surprisingly, high-speed but low-budget action adventure Serenity may well be the answer movie-goers and sci-fi fans deserve, though probably don't expect.
When you glance at its title or walk past the posters it's tough to grasp what the hell this movie actually is about. Throw in the premise of a space western and it's fair to say this is a tough product to market to the masses. US broadcaster Fox certainly struggled with the concept, strangling Serenity's predecessor, the TV show Firefly, by showing its episodes out of order and then canning it after only ten shows. That's hardly a recipe for success. Nonetheless, the magical piece of celluloid was lovingly resuscitated by creator Joss Whedon, a cast and an audience who believed the idea was too good to die.
Although this is his big-screen directorial debut, Whedon is no stranger to movies. His most successful screenplay was actually Toy Story, and his next major project will be Wonder Woman. But having thrown himself head first into the world of TV over the last eight years, he's best known for creating international cult hits Buffy the Vampire Slayer and its spin-off Angel. Sure, those shows were filled with kicks, punches and at times some really shoddy demon costumes, but at their heart was a series of relationships with smart writing as their driving force.
This space opera follows the same principles. Serenity is a beat-up cargo transporter owned by Mal Reynolds (Nathan Fillion). Imagine a Han Solo who never met up with Obi Wan and Luke Skywalker--a rogue character travelling the galaxy with his assembled crew of lovable misfits, thieving and smuggling goods, people and cattle just to put some protein on the dinner table. Everyone onboard has their own story to tell, but it's the human cargo of teenager River Tam (Summer Glau) and her brother Simon (Sean Maher) who are most vital to the plot of the movie.
The tense, fast-paced opening scenes, which act as a bridge between the TV show and film, show Simon rescuing River from a government who have been prodding her brain with needles and turning the sweet, elegant girl into a confused psychic weapon. Losing her is a major threat to galactic security, so a cold-hearted operative--performed wonderfully by Chiwetel Ejiofor (Four Brothers, Melinda and Melinda, Love Actually) and almost stealing the entire show--is in pursuit to stop River, and if that means killing everyone around her, then so be it.
But Serenity is no simple space chase. The rate of action is near-perfect, and for large chunks of its two hours it's exciting edge-of-the-seat stuff. However, where the movie stands apart is in its slick, quick-witted narrative between actors that director Whedon genuinely believes were born to play these roles. Few are big names yet, but the their chemistry and humour gives the film its real soul and charm.
Back in the very early rounds of promotion, Whedon would explain to fans, 'It's a movie about the human condition and big explosions. But if you need to tell someone about the movie, tell them about the big explosions because who really cares about the human condition?' It's certainly a fair assessment. The adventure is the big selling point for strangers to these characters and the story is capable of standing alone, but if you grew to love the people and the concept in the short-lived series, it's the emotional impact which resonates strongest, leaving you walking out the cinema with your mouth open.
Is the movie perfect? Not quite. Although the introduction to their universe is fairly efficient and quite necessary, the opening dialogues are briefly grating. And the comparatively low budget excluded seamless Industrial Light & Magic effects, although, to be fair, Oscar-nominated director of photography Jack Green (Unforgiven, The Bridges of Madison County) certainly squeezes out some great visuals for the price.
Perfection is subjective anyway, and whether Serenity reels in enough cash to spawn a dozen sequels, or drifts through space just being adored by a hardcore set of fans, it isn't going to vanish. It's a surprisingly classy movie and definitely has the potential to slow burn, and eventually attain the respect few sci-fi movies ever do.
:: Posted at 3:46 pm by Steven McCarron ::
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Friday, November 25, 2005
Audiotransparent - Nevland
As in so much of what I write here these days, I've been incredibly slow to write about the new Audiotransparent album. If I thought the band actually cared, they'd probably be afraid I don't like it. Having enjoyed their debut so much and gone on and on about it, after half the band left last year, they may be scared I've gone off them. That isn't the case though. If anything I'm just lazy.
Nevland is another beautiful album which maintains the original atmosphere and tone of their debut. Continually slow, considerate, dark and immensely pretty, Audiotransparent deserve much more success. The textures are unavoidable, with a range of instruments creating layers of attractive noise. It shouldn't be a surprise because all the ingredients were there before, yet I did find myself amazed that they didn't lose much in the way of magic while shedding band members.
I can't even pick out favourites from this release because it is of high quality right across the board, but I must admit, whenever the strings appear I become completely lost in the music. Andreas Willemse's violin parts have always been exceptional, but with some additional help from a string section on this record, the arrangements have become epic. Not in a cheesy Hollywood style, but in an emotional, gripping sense. I still want to stand up and make the world listen to Audiotransparent. I'm not sure anyone actually listens to me but there are definitely moments of musical greatness on Nevland.
'The Friday Of Our Lives' is available to download from http://www.audiotransparent.com
:: Posted at 4:04 pm by Steven McCarron ::
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Vladimir - The Notion Express
I've written about this Apeldoorn-based quartet in the past, and they've always appealed to me in much the same way as Groningen's Audiotransparent. With their slow methodical songs, they create stunning textured pieces of audio. I'm in no way driven only by slo-core sounds, but when these Dutch bands do it I'm always left hugely impressed.
Offering layers of guitars that build up methodically and ease themselves back down, their style of song presentation is fascinating. There's no requirement for bombast or fancy tricks. The melodies are right there and when you give them a chance, they slowly reel you into their atmospheric world. Peppering the sound with a distant, melancholic trumpet only adds to the spirit.
One thing I've never fully been able to shake is that Vladimir's vocals are reminiscent of Chris Martin. I'm in no way a fan of Coldplay, so when I write it, I hope to do so without it sounding like either an attack nor blessing. But there's a pleasing tonal quality to the vocals, and if anything, I wish Coldplay had the guts to make music like Vladmir rather than the rehashed works they keep pummeling us with through the media.
Vladimir definitely deserve a chance. If not only for their musical strengths, then also for packaging it all so beautifully. Bands like this should always sell all of their stock.
Audio is available online via their official website http://www.vladimir-web.com.
:: Posted at 3:57 pm by Steven McCarron ::
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Persil - Glasgow - 14 November
The disappointment of not seeing Sleater-Kinney during my recent Glasgow trip still burns a little. Sure, they're due to tour Europe next spring instead, but every time I hear their new single 'Jumpers' on the radio or catch the video on TV I can't help thinking what could have been.
The one musical consolation of my 'holiday', however, was catching Persil live. I've no idea who booked their tour or why, because as choices of venue go, they were all 'out there'. Still, they found themselves in Glasgow, and having never seen them live before I wasn't going to miss out.
Two support acts kicked things off. I don't know who the first were and I couldn't actually see them onstage. Now I'm all for experimental sounds, but with a poor sound mix, no visual contact and only a collection of random notes to go with, I was left with the conclusion that either the people had never met before or the songs never existed until that moment. The Retrosexuals were a much needed improvement and seemed to fit perfectly beside Persil, with their pulsing electro backtrack, loud guitars and catchy melodies catching my attention. That's if we could actually hear melodies. You see, the soundman seemingly vanished for their entire set and their microphones could barely be heard at all. Even with David from Persil going over and trying to salvage the situation, nothing really helped. The band seemed intriguing, but yeah, technology was the enemy.
Thankfully at least one microphone was repaired for the Persil set, and ironically it almost ended up too loud for the rest of the music. But at least it gave the duo a fighting shot as Martine's vocals battled over their electro-noise. Can't say I heard much of David, but without a decent view of the stage I couldn't even see if he was singing most of the time.
Persil are great fun though, and for a duo they sure make a lot of noise. It was particular joy to hear them rip up 'Music' from Duotone. Unfortunately the set was cut rather short due to the landlord being determined to evict everyone from the crowded basement much sooner than required. That's the breaks sometimes, but despite the sound quality, lack of view, or even lack of comfort, I'm delighted to have caught Persil live.
:: Posted at 3:22 pm by Steven McCarron ::
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Teenage Fanclub - Nighttown - November 7
The experience of seeing Teenage Fanclub onstage outside of Scotland was a strange one. Used to packed Barrowlands audiences and everyone knowing every song inside out, it was weird to be sitting on the steps in Nighttown amidst a half-empty room. But that doesn't mean my first Fanclub gig in almost four years wasn't special.
Firstly there was the unusual situation of being in the venue without an actual band. After the bottom apparently fell out of their van on the motorway going to the gig, it was left to the legendary Guitar George, their infamous guitar tech to fill in the prolonged gap. Forming a makeshift band with the guy who does monitors and a helper from the venue, he performed a sincere set of simple guitar pop. Perhaps too earnest and straight for my usual tastes, he's just such a charming man that it couldn't not put a smile on your face.
Eventually the band arrived, and without much of a chance to catch their breath they were onstage. Again, it was just so surreal to be down the front at a Fanclub gig and have the space to lie down if desired, but they were still great. By all rights the band should not have been so happy, yet there they were, still catching each other's eyes and smiling mid-song. As for Norman Blake, if you'd seen the way he grinned during 'Discolite' every time he rung out a massive distorted chord on a guitar reeled out especially for the song, you'd suspect it was his first time ever finding such a sweet sounding overdrive.
Song after song was rolled out covering every corner of their back catalogue. I confess it's the works from Songs From Northern Britain and earlier that get me going the most, but everything stood up well. Harmonies were falling perfectly in place and everyone relaxed into a fun time. After 90 minutes it was over and the crowd found its voice. Amazingly it didn't result in an encore, but after the greatest hits style close to the set and the late start, it was understandable.
It was something like nine years since Fanclub last performed on these shores. I don't know if they're feeling too old for touring these days but I hope not because there's still an audience for them in NL.
:: Posted at 2:58 pm by Steven McCarron ::
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Fuck-Off Machete
Been meaning to say this recently and kept forgetting, Glasgow's Fuck-Off Machete have a new single out on a new record label. I was really into them last year, and you can read my review of their debut album here. I believe it did alright and got a decent reception, but they still never really took off in a massive way. Which is a shame, but they're back via Highpoint Lowlife Records and ready to go at it again.
The new single is titled 'If Gold Was Silver and Silver Was Gold' and comes across in that Sonic Youth meets Girls Vs Boys style that I like so much. Nice b-sides too. I'm not much of a singles person anymore - not like I was in my youth anyway - but this is a great taster of what's to come in their next album.
Plus the band will be performing in Den Haag on December 17 as part of the State-X / New Forms Festival, whose website is pretty useless right now. I'm excited for them to be here in NL and will undoubtedly be mentioning it again over the next few weeks.
:: Posted at 2:25 pm by Steven McCarron ::
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Thursday, November 03, 2005
Cruel Fortunes
Next weekend I'll find myself in Scotland after travelling all day across land and water (thank you Easyjet for cancelling my route). The purpose of the trip is to see Sleater-Kinney, or was, as they cancelled the gig days after I bought my ticket and booked the travel arrangements. Apart from the unfortunate expenses incurred and this poor attempt at self pity, Glasgow isn't as rewarding with gigs as usual. Loads fall this week, and then more the week after I leave, but not so much while I'm there. I will have a football match at least, with Scotland promising an exciting nail-biting 0-0 draw against USA.
However, my real point is this. In my haste to follow Sleater-Kinney and chase what could have been the gig of the year, I have sacrificed the Music in My Head festival in Den Haag next weekend with my precious Sons and Daughters, and also The Gossip at Waterfront on Nov 16. A big fat wah! Please feel free to make up for my error by supporting both events.
:: Posted at 1:55 pm by Steven McCarron ::
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Teenage Fanclub
Nine years ago next week I bought a cheap bass and officially joined my first band that day. The first song I had to learn and rehearse with them was Teenage Fanclub's 'Radio' off Thirteen.
I wasn't always a fan of the Fanclub. When I first saw them live at T in the Park in 1994 I thought they were crap, but Grand Prix changed my mind and over the years they became a band I cherished. Of course it was quite easy to feel that way living in Glasgow when there were endless opportunities to see them live.
Well next week they make their first proper return to the Netherlands in absolutely ages and it's quite exciting. Look out for them at Rotterdam's Nighttown (7/11), Tilburg's 013 (8/11), Groningen's Vera (9/11) and the Melkweg (10/11). Show them Holland still cares and they won't let you down.
:: Posted at 1:46 pm by Steven McCarron ::
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Thursday, October 27, 2005
Andrew Bird - October 23
So at the weekend there was a journey through intense rain to experience Andrew Bird at Patronaat in Haarlem. It's been almost 20 months since I first saw him live, performing with Clem Snide in Rotown. Although I was still relatively new to him then, that concert was beautiful, if ever so short, and it launched me properly into fandom. Since then I've been living with various bootlegs, learning a back catalogue, and quite happily announcing The Mysterious Production of Eggs as the album of the year way back in February. Nothing has changed to make me doubt that decision, as every month or so a new song or lyric jumps out to bring it back to life.
It should have all added up to be too much pressure with the concert falling flat in a disastrous heap, but no, Sunday night was magical. Seemingly in a weird mental place after struggling to arrive from Luxembourg, he distorted his songs more than I've heard in most bootlegs. Playing without a drummer, his only limitation was the memory in his digital loop pedal, but it made for a raw, humorous performance, sometimes even forgetting or tripping over lyrics in such a way that it can only improve the experience.
At times looping what felt like infinite violin parts, jamming with himself, before banging away at the xylophone - and perhaps the scariest part of his performance is how he whistles each note in perfect key and synchronicity while doing so - looking like he's channelling the music from somewhere else. Then of course, he'll switch from violin to guitar just as fast in the middle of a song, sometimes plucking away or occasionally thrashing away with a thumb while the looped violins swirl around the room. To me it's magical experience and no-one can do it like him.
Despite missing out on two of my favourites 'Fake Palindromes' and 'Masterfade', a lot of the set was obviously taken from the recent album, with a few oldies and a few new songs thrown in for good measure. Unfortunately he did cut off 'Tables and Chairs' right before my favourite part due to a technological crash, so he unplugged the violin, held it high on his chest under the microphone, converted it into a ukulele and performed the rather wonderful bluesy/gospel song 'Happy Day', with some unusual call and answer backing vocals from a random Englishman in the audience. 'Why' also got a particularly rapturous response from the audience. I listened to the original from The Swimming Hour yesterday just to remind myself how much that song has morphed over the past year. Brimming with such full-on expression, he reels the audience into the story and performance, and by the time it ended everyone went a bit mad. 'Weather Systems' was a quite an unexpected ending to the gig also. It's so emotional and drawn out, but its performance was particularly beautiful.
So 90 minutes of Andrew Bird, and I'm still left wanting more. It's a shame it was the only Dutch date this time, but hopefully he'll keep coming back. It's a rare thing for me to actually want to talk about a gig so much after it's finished, but I continue getting flashes of funny moments and segments of complete prettiness. And if all this talk can't convey how great a songwriter and performer he's actually grown to be, I'm not sure what will.
:: Posted at 12:33 pm by Steven McCarron ::
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