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My Top 10 Albums Of 2016

RIGHT. So, here we go. That time of year again. All the other ‘albums of the year’ lists have been written and released. Most of them wrong in my opinion… *cough* NME *cough*

I really don’t need to say anything more about that, but they more or less recommended me to my local GP upon coming across my Twitter reaction to their No. 1 position. Read this article and scroll three-quarters of the way down the page for more information if you’re interested – http://www.nme.com/blogs/nme-blogs/readers-best-reactions-nmes-albums-year-2016-1873931

Alright, let’s crack on.

 

10) Jack White – ‘Acoustic Recordings: 1998 – 2016’

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Number 10 is a compilation album! It’s unusual that I would include a comp in my annual list but this one is an exception. Comprising of unplugged ditties from The White Stripes, The Raconteurs and White’s solo work; this double LP spans through eighteen years of wonderfully crafted songwriting from one of modern music’s most loved guitarists. Stand-out moment, ‘Carolina Drama’ tells us about Billy and his junkie family when they get involved in a bloody brawl with a priest. This is one of many brilliant little stories that White has managed to pick out of his brain over the last two decades. ‘Acoustic Recordings’ is lovely to listen to in front of a roaring fire, give it a try.

 

9) David Bowie – ‘Blackstar’

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Oh God, please don’t get me going. I can’t believe that it’s been nearly a year since Bowie left us, and this was his final hurrah, for now anyway. We all know about his sad death and this is how he said goodbye. It is a fantastic goodbye as well. With only seven songs on the record, ‘Blackstar’ portrays Bowie at his arty best; with influences of jazz, minimalism, experimental and guitar music all mixed up in one big blender of genius. The lyrics, ‘look up here, I’m in heaven’ are already infamous, and hit every Bowie fans’ heart on listening. It’s just such a shame that we’ll never get to see him perform these great songs, rest in peace to one of the greatest musicians that’s ever lived.

 

8) James Blake – ‘The Colour In Anything’

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This year has irritated me in a way because so many great albums have been completely forgotten about and overshadowed by utter crap like Beyonce and Kanye bloody West. I mean, really? Listen to ‘The Life Of Pablo’ and tell me what you REALLY think. Anyway, this is one of those albums that’s been swept under the carpet. Preceding his excellent Glastonbury performance in June, headlining the West Holts Stage on the Saturday; fans could own the songs written by James Blake that pleased them so much on that night in Pilton, in the form of ‘The Colour In Anything’. At 76 minutes long, it’s a stupendously long album, full of beautiful moments as well as head-nodding moments with discordant time signatures. It’s very much worth spins a-plenty though. The artwork is also awesome, shout-out to Quentin Blake for taking me back to my childhood when looking through the album sleeve!

 

7) Iggy Pop – ‘Post Pop Depression’

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This is undoubtedly the coolest and sexist album to grace my list this year. The indefinable, sensual, waxwork-like character of rock and roll that is Iggy Pop came back with a bang in 2016 after being away from the limelight for long enough, and he wasn’t messing about. With members of Queens Of The Stone Age and Arctic Monkeys to band him up, we were guaranteed to get something remarkable. ‘Post Pop Depression’ is an incredible jaunt through pouncing riffs and songs of prowess, with some insanely witty lyrics throw in. On ‘Paraguay’, Iggy screams in anger about the digital age, shrieking, ‘You take your motherfucking laptop, and just shove it into your goddam foul mouth’. This is an issue that musicians seem to be addressing more, and about time too. No-one does it like Iggy, though. An absolute must-own.

 

6) Skepta – ‘Konnichiwa’

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2016 has without a doubt been the year of grime. It’s owned the clubs, it’s owned the charts and it is dominating UK culture as we know it. Grime’s current poster-boy, Skepta, on receiving the Mercury Music Prize for his fourth solo effort, ‘Konnichiwa’, was a clear recognition of that. That aside however, ‘Konnichiwa’ is a great piece of work. It exploits Skepta’s London roots as well as his new friends from across the pond, including a certain Pharell Williams. I’m not sure any party this year has been without at least one of ‘Shutdown’, ‘That’s Not Me’ or ‘Man’. This is grime’s most important record since ‘Boy In Da Corner’. It’s officially come up out of the basements, and onto the Radio 1 A-list thanks to ‘Konnichiwa’. Incredibly story when you think about it.

 

5) Deftones – ‘Gore’

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We’re getting to the business end of the list now, and at Number Five, it’s one of metals’ most exciting and daring bands; the one and only Deftones. ‘Gore’ is the eighth studio album released by the band, and the first since former bassist, Chi Cheng, sadly died after going into a cardiac arrest in 2013. And if anything, Cheng’s death inspired the rest of the band to make one of their finest records to date. Full of ideas and innovation as always, the LP ranges from the shocking blast of ‘Doomed User’ to the heart-wrenching balladry of ‘Hearts/Wires’. After seeing some of these songs live in the pouring rain in the East Midlands in June, they seemed even more poignant. I’m also really looking forward to their Wembley Arena gig in May. Long live the might of Deftones.

 

4) DIIV – ‘Is The Is Are’

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To say the least, it’s been a turbulent few years for DIIV’s frontman, Zachary Cole Smith, since the release of breakthrough debut record, ‘Oshin’ in 2012. Himself and partner, Sky Ferreira, a successful solo artist in her own right, have been arrested on grounds of drug possession and driving under the influence. They’ve also faced battling respective heroin addictions and spent time in rehab. We were honestly probably lucky to hear the new hour-long album from DIIV all the way back in February, and I’m so glad we did. Touching heavily on the addictive lifestyle of Smith, some of the most startling lyrics are heard in tracks like ‘Mire (Grant’s Song)’. ‘I was high, but now I feel low, my own private, I dunno’ whispers Zachary. ‘Is The Is Are’ is a massive, dream-indie-pop soundscape of the past four years of Smith’s life, and it’s one you can get beautifully lost in.

 

3) Frank Ocean – ‘Blonde’

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There is only one Frank Ocean, only one person like him in the whole universe. After what felt like twenty years of delaying this stupidly anticipated album; he goes and releases it exclusively on Apple Music, just days after teasing the world with his visual album, ‘Endless’, which was able to stream on the same service. I eventually heard it when it became available to stream on Spotify, and I was blown away. You know what I love most about this album though? It’s not the dreaminess of it, or the incredibly mesmeric vocals that Frank exploits hugely throughout… it’s actually the hope that one day I’ll be able to physically buy the album and listen to it on my stereo, therefore experiencing it yet again in a different light. I feel like you have to listen to ‘Blonde’ at least ten times to even start to get a grip on just how stunning it is. The man has clearly had ideas pouring out of him since ‘Channel Orange’. ‘Facebook Story’ is my personal highlight. It’s a big middle finger to the digital age, dawning the realisation that people take social media far too seriously, causing the downfall of genuine relationships. This album has cemented Ocean’s status as one of the greatest modern musicians on the planet, he’s simply in a different league.

 

2) Savages – ‘Adore Life’

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It’s not been a particularly grand year for concept albums, but this is by far the best of the few we’ve had. The coolest ladies in town, Savages, released ‘Adore Life’ way back in January. One of the most relatable of the year, this album is one about love, lust and desperation. ‘Is it human to adore life’ is the powerful message that rings through on stand-out moment, ‘Adore’, a five-minute crescendo of ear-splattering guitar playing from Gemma Thompson, who plays the best she ever has on this fine record. Great to listen to in a dark and gloomy room, this is a phenomenally dynamic LP from a band who can’t do any wrong and are keeping post-punk alive and kicking. With albums like this, they’ll easily be headlining festivals in the next five years. Keep it up, girls.

 

1) Radiohead – ‘A Moon Shaped Pool’

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OKAY, I KNOW. I just couldn’t resist! My Number 1 album of 2016 is, without a shadow of a doubt, Radiohead’s ninth studio effort, ‘A Moon Shaped Pool’.

Goodness me, where do I even begin? I should probably begin by saying that it’s incredible that after twenty (plus) years, Thom Yorke and company can release some of their finest ever work; keeping their whole discography so consistently different, thought-provoking and imaginative. ‘A Moon Shaped Pool’ came out after more teases than Kanye West and Frank Ocean on the tube with masks on, with a political message more than anything.

The ‘Burn The Witch’ video was released to the world just before Great Britain decided to leave the European Union. Produced in stop-motion animation, this video, according to writer Mark Hogan, ‘reflects the rhetoric of family values used by right-wing politicians such as Donald Trump, Marine Le Pen and members of the UK Independence Party’. Funny, that. Cherished with wonderful orchestration that was mostly directed by Jonny Greenwood (guitarist) and Nigel Godrich (producer), this track gives life to a body of work that doesn’t come around too often. The second track, ‘Daydreaming’, is something I too have to mention. This is a six-minute stop-traffic moment that is beautiful, eerie, pulsating, demonic, lazy and dreamy, all at the same time. I’ve listened to this song at 6 in the morning when getting up to go to work, and at 6 in the morning when I’ve got in from a night out. It works anywhere and everywhere, and is probably my song of the year.

What’s most incredible about ‘A Moon Shaped Pool’ is that, even after I’ve been praising it as I have above, I don’t believe it’s their best album. It’s not even their second best. For me, this album only just falls behind ‘OK Computer’ and ‘In Rainbows’. That is staggering when you listen to the album and think about it. Radiohead are just one of those bands. They’re never going to get boring because they’re never going to run out of ideas or ambition. People probably think their music is boring, but I see the bigger picture. This year, I’ve seen one of the biggest and best bands of our time release an album that will stay with me forever. Seeing them perform these songs at Glastonbury in June is going to be magical for me, I’m literally counting down the days! Thank you Radiohead, thank you so bloody much.

 

 

Well, that’s it. I think I’ve wittered on enough now. Hope you enjoyed the post. Tell me if you agree or disagree, and what your favourite albums of 2016 are. See you next year folks, keep listening!

 

 

 
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Posted by on December 31, 2016 in Uncategorized

 

The New Norm

Woah, it’s certainly been a while since I’ve written anything on here. Truth be told, I did mean to write about the whole Fabric saga, but thankfully this blog post will relate to that in some ways.

So I had a little bit of a gig bender this weekend, beginning with travelling to Blackpool on Friday to see the awesomeness of the Chemical Brothers deliver some block-rockin’ beats to the Empress Ballroom, then straight into Sheffield to watch Bobby Gillepsie and the rest of the Primal Scream lot play a brilliant set of feel-good classics and new, more electronic-inspired numbers. A bit of a ’90s gig bender really!

All I wanted to write about really was what seems to be the norm in music venues and clubs all across the country; hard drug-taking, and a lot of it at that. In Blackpool, I was a bit taken aback at one point to find that some older bloke than me who looked like an accountant attempting to relive his youth, offered me some chewing gum. Now, for those who might not be as familiar with the effects of ecstasy, the chemicals in MDMA cause people to ‘gurn’, meaning that their jaws swing, sometimes uncontrollably, from side to side. You know when someone’s gurning basically, and I’m led to believe that chewing gum helps ecstasy users to resist biting the insides of their mouths or gums, and therefore not damaging their mouths as much.

I can quite honestly say that I did not partake in the consuming of MDMA at the Chemical Brothers gig,  nor any drug for that matter, so I’m not sure why my accountant friend presumed I was high.

I’ll tell you why, it’s because I was thoroughly enjoying myself and bouncing up and down and dancing just as much as the people in that crowd who were in fact on drugs. And you know why? Because I’m a music fan. I was out with my good friend seeing a DJ duo I’d always longed to see live. In 2016, it now seems to be the norm to take a copious amount of narcotics in music venues, clubs, and even pubs to some degree. Therefore, you’re an unusual part of the experience if you’re not delving into that world through choice.

That’s pretty much my conclusion on the matter. When my accountant friend offered me some Wrigley’s, it got me thinking about the state of the live music and nightlife culture in the UK. People for whatever reason need to accessorise these experiences, whether it be through Class A drugs or getting your phone out and spending an hour on Snapchat rather than actually physically enjoying yourself with your mates. The same can be said for alcohol however, and we’re definitely all guilty of that. Swings and roundabouts possibly? As for the technology aspect of it, that’s a whole different conversation altogether, one which I can’t get into, otherwise I’d be sat here all night typing. It is deeply fascinating though, as well as hugely worrying at the same time.

 
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Posted by on December 11, 2016 in Uncategorized

 

BBC2 Or CBBC?

Happy Glastonbury weekend everyone! What a year it’s been already. 12-hour traffic jams, knee-deep mud, even a quite tragic death overshadowed by the EU referendum; all to be floated along last night with the quite depressing and frustrating set from Adele last night (25th June).

I seem to remember publishing a blog post around three months ago, based around my thinking that the Eavis family had been quite lazy with their bookings for the headline slots on the Pyramid Stage this year. I wasn’t too impressed by the thought of Muse performing yet again, and Coldplay performing yet again. However, Muse stormed it on Friday night and I’m optimistic that Chris Martin and the boys will do the same again this evening (26th June).

With this, I was quite prospective about the Adele concept. It was going to be interesting and a massive event at least. However, watching it was like watching a mixture of childrens’ programmes on CBBC. Selfie-posing, bringing children up on stage and asking them about their lives, endless boring and unfunny ‘anecdotes’ between songs that became incredibly frustrating and didn’t seem like they were going to end. I swear that she could have crammed in about six or seven more songs if only she just shut up for a moment. There was surely a lot of watch-checking in that field and even on that stage from the rest of her band last night. The crowd seemed to love it, but I doubt they’d seen the likes of Bruce Springsteen & The E Street Band, Blur or Stevie Wonder perform on the very same stage in previous years.

It also made me think about that recent massive UK tour she’s only just completed. I mean, how much were tickets? Stretching to £80? £80 to see her perform her tear-jerking ballads and unnecessarily swear and mess up the starts of songs. Yeah, because apparently she’s so ‘normal’ and ‘relatable’ and it’s just really hilarious ‘cos she’s Adele’. No my friends, this is not the case. You would never see Paul McCartney start a song again after a mistake. He wouldn’t make a mistake regardless because he’s such a fantastic musician, but he’s also far more professional than Adele in every sense.

Hours before Adele took to the stage last night, the presenters of the Glastonbury coverage on BBC2 had been told that Adele had ‘been to Tesco’ before her set, apparently highlighting the fact that she’s such a ‘normal’, ‘everyday’ woman. The fact that that becomes material for the presenters shows that she in fact really isn’t a normal, everyday woman. Such a load of rubbish. She’s a multi-millionaire and one of the biggest names in contemporary pop music, she is not like the rest of us.

Then there’s the whole concept of her headlining the biggest festival stage on a Saturday night. Yes, I’ll repeat that, a Saturday night. If I was there this year, I would have gone to see New Order on the Other Stage. I very much doubt that Adele heart-wrenchingly singing ‘Do Y0u Remember?’ and ‘Someone Like You’ is going to gear you up for a big night ahead. I’d probably have gone back to camp to slit my wrists after her set. The Eavis’ made a real dog’s dinner of the Saturday night programme. The Sunday? Fair enough. But Christ alive, not the bloody Saturday night.

One of the other things that really annoyed me about the set was the reaction from Mark Radcliffe and Jo Whiley afterwards. I understand that they have to praise the performance while they’re broadcasting live to the public. They can’t exactly say ‘well, that was a proper bag of shit wasn’t it’, but the crap they were coming out with was laughable. They were claiming that there was a real connection with the crowd, the most connected performer with a crowd they’d ever seen at the festival. If you’re talking and chatting away for hours on end, then of course there’s going to be more of a ‘connection’ as they said. Some of the music is so dull that people will switch off. I honestly felt like I was watching ‘Live At The Apollo’ at some points, but one of those really bad comedians that get one chance and don’t get invited back again.

It was just really frustrating, I wanted to hear more of the songs. Only fifteen songs were performed. Fifteen songs for a Glastonbury headline set is woeful. What a waste of time, effort and money. Gorillaz performed twenty-three brilliants songs when they had to fill in for U2 six years ago but didn’t get half the praise that Adele inevitably will.

The thing is, believe it or not from this rant, I actually quite like Adele’s music. ’21’ is a great album when you’re in the mood and there’s no denying that she’s a phenomenal talent. Best voice in the country without a doubt. It was just far too much of her big over-egged personality right in your face. I also felt that the songs weren’t amplified as much as they could have been. ‘Rolling In The Deep’ was definitely the musical highlight. It’s a massive-sounding song anyway but the new songs sounded dull and flat. Quite frankly disappointing.

In all fairness, it must be a bit of a difficult conundrum for Adele. She’s so huge now that she has to cater for all audiences, whether they be young, middle-aged or elderly. That is why last night she was posing for selfies whilst simultaneously swearing about the mud and bitching about her ex. The pressure must have been immense. I honestly reckon that if she performed at Sheffield City Hall, it would have worked better than it did at Glastonbury Festival in front of hundereds of thousands of people and millions more on TV.

So to round this rant off, I’m begging the Eavis family to just think before they book these acts. It really didn’t work, she was annoying and I’m pretty certain that some of the crowd would have thought the same.

Enjoy Coldplay tonight all, cheers.

 
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Posted by on June 26, 2016 in Uncategorized

 

Amateurs?

A week late on this one but I’ve been busy with work and things and just haven’t got round to the blog, just like in the last two months too…

But anyway, I was amazed last week when I was doing my Saturday afternoon hospital radio show on Trust AM and went to play 2Pac’s ‘Changes’ before I did play it out on air (thinking it would be thoroughly edited) and it wasn’t. The late, great rap star was effing and jeffing like it was going out of fashion and I was stunned.

Never have I been at a radio station where the music that is on the playout system for presenters to play until their heart’s content has not been listened to and edited appropriately for their target audience beforehand. A presenter note was written by myself and the track has since been removed but the fact of the matter is that it should not have been on the system, and I dread to think how many other songs like that are on there.

The fact is, presenters (such as myself) don’t read little tiny notes lying around saying, ‘don’t play this track’ or ‘tracks X to Y haven’t been edited yet so don’t play them out’. We don’t read things, because we’re complete ignoramuses. Therefore, we just play things and hope for the best, I know this mostly from experience of knowing my own style of production and from knowing and meeting other presenters.

I’m still very surprised by this lackadaisical attitude towards new music that is uploaded and I’ll definitely be bringing up the issue at the next AGM if I’m still around.

There you go, moan over.

 
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Posted by on May 21, 2016 in Uncategorized

 

Can They Do More?

I’m well up to speed tonight, this is definitely a new record!

It’s literally (more or less) just been announced that the biggest artist in the world will be headlining the Saturday night at the biggest festival in the world, Adele is gonna be at Glastonbury everyone.

So it’s a best-of-British affair on Worthy Farm this year, with the already announced headliners being Coldplay and Muse. I love the prospect of all this as I’m a big fan of both those two bands and Adele not as much but I still quite like some of her music, ’21’ for me being her best work. However, is this really the best Glastonbury can do? Fair play to Adele, she’s never headlined, but Coldplay and Muse? Before 2016 they’d already headlined the Pilton event five times combined in something like fourteen years. Might not sound that much, but for Glastonbury it really is.

It’s the same, or a similar, situation for the other high-profile festivals in the UK. Reading and Leeds for instance, have put a poor effort in this year for their biggest names. Fantastic news that the Red Hot Chili Peppers will make a worthy return to both sites, but the fact that Festival Republic have decided to opt for two nights of two co-headliners is bizarre if nothing else. On one of the nights, Foals and Disclosure will co-headline. Now, Disclosure are not YET headline material, and how it works is that either Foals or Disclosure will headline Reading and vice versa, when the other will essentially be their support band. And annoyingly, it typically works out that the bigger and better band always headline Reading (ie, Foals). This is really irritating for me as a Leeds Festival-goer, we Northerners continuously get our sloppy seconds. It’s exactly the same situation for one of the other R&L nights with the two co-headliners being Biffy Clyro and Fall Out Boy. Basically, to put it more simply, one band always miss out, one festival always misses out and one music-loving crowd always miss out. It kinda sucks.

Sorry if all that confused the fuck out of you, I’m going to reach my conclusion soon, just one more example.

Download Festival. Good God, where do you start with Download? To start with, I love it, I think it’s awesome, it’s full of lovely people and awesome bands, but my God, it’s probably the most unoriginal festival going. Headliners this year are Black Sabbath, Rammstein and Iron Maiden. Sabbath, fair play, it’ll be one of their last ever gigs before Ozzy eventually dies or something. Rammstein, hmmm, getting a tad less original now as they only headlined three years ago, and let’s be honest, everyone in the crowd is waiting for ‘Du Hast’. However, I’ve heard they put on a really good show. Iron Maiden, for fuck’s sake, again?!?!?! Aren’t they about 90 years old now? And haven’t they headlined approximately 90 million times?! So boring, change the fucking record Download. Let’s see you dare book someone else. For example, Bring Me The Horizon could easily headline, Deftones, Soundgarden, Queens Of The Stone Age, even Iggy fucking Pop I reckon, especially now he’s released this new album. They always include one new or different band a year but that’s about it. Poor effort.

What I’m trying to get at with ALL of these examples is, that UK festivals at the moment don’t seem to bother too much or put much effort in with regards to booking big bands that maybe people don’t expect. Either that or they make completely the wrong decisions when it comes to slots, a lot of the festivals seem to be clueless. Considering the scale and reputation that these festivals uphold, and have upheld for years on end, it’s pathetic to some extent. They do have the power to book world-class names, I’m just not seeing enough of this in 2016.

I’d love to see a festival one year that wrongs all the bookmakers and throws everyone off completely. I will then automatically have the utmost respect for that particular festival, albeit if the acts are worthy enough.

Anyway, that’s my rant over. Have a good weekend everyone, keep listening!

 
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Posted by on March 18, 2016 in Uncategorized

 

Brainwaves

Hello!

So I won’t lie, recently I haven’t had loads of contact with other human beings, through the Internet yes, but in actual person? Face to face? Not really. This might be down to the fact that my Dad is usually out, either at work or the gym and all my friends are more or less finishing University.

Anyway, the reason for me telling you all this is because it’s given me some time to have some ideas, some brainwaves.

Around a year ago I had a little thought in my head going, ‘hey, you know what would be pretty cool, a sitcom revolved around the life of a hospital radio station’. I know a lot about this as I’ve got two and a half years’ experience volunteering at Cotswold Hospital Radio in Cheltenham whilst at University. I loved going every week and made some decent friends along the way but there sure was enough material for me to think about what would be funny if this was transferred into a sitcom-type scenario. Interestingly enough also, I’m actually starting a new show on Trust AM in Worksop, Nottinghamshire (near Doncaster) tomorrow. This is another hospital radio station that I’ve decided to get involved with since being back home. I’m looking forward to doing some radio again and it may give me some more ideas for this sitcom I’m currently laying down the groundworks for. I told my good friend Scott about the idea and a few little anecdotes and characters I’d laid down already and he said it sounds very ’90’s’. Good. I love the 90’s. Cheers Scott, fella.

The songwriting is also still coming along well, it’s been going on for years now of course but I’m a firm believer that the more songs you write and the more you practise, the better the songs will be, musically and lyrically. I really need to get into a studio soon with a couple of people and lay down some stuff properly. Songwriting and recording is definitely the most exciting creative project for me, not to mention the most doable.

Finally, I’ve also been toying around with the idea of saving up for a radio zoom kit and starting to do some individual, not-for-profit, music documentaries for radio. I solely produced a 22-minute documentary on the Arctic Monkeys in my final year at University which got a very good grade and it is something I admittedly, am immensely proud of, it even won a bloody award! I had to meet a deadline for that and under my own steam, following the proven structure I used for the AM doc, I honestly reckon I could produce some great stuff still, put it online and use it to the best of my advantage in the future.

It’s going to be difficult to fit all this in as I’m starting my new, full-time job next week at a local home finance company. I’d like to make a good impression but still concentrate on these ideas in my free time, as well as generally chilling out and having fun.

2016 is set to be a creative year nonetheless, exciting!

 
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Posted by on March 11, 2016 in Uncategorized

 

A Brit Rubbish, If You Ask Me

So last Wednesday saw the ‘celebration’ of the ‘best’ British music from across the last twelve months, namely, the Brit Awards.

If you ask me, that evening should have been renamed the s*** awards. I mean, wow. It wasn’t great, was it.

For a start, Ant and Dec were presenting again for some reason. Thank God they’re pissing off before next year. They’re so out of touch, it is unbelievable. I can guarantee they’d never even heard of half the bands and artists gracing the acceptance and performance stages throughout the night. ‘Catfish and the Bottlemen, aye man, who?’, ‘Tame ImpalER, aye man, what?’ Place your bets now.

Secondly, Adele won everything, which is just boring but was highly anticipated. It is a shame though because it would have been great to see someone like Laura Marling win ‘Best British Female’ and Jamie xx win ‘Best British Album’. Marling has won that award before I must mention but we can all dream eh?

But for me, the worst aspect of all were the performances. James Bay = boring, bland. Jess Glynne = out of tune. Bieber = just, Bieber. Need I say more? Coldplay and The Weeknd were alright but that was about it. This doesn’t include however the Bowie tribute which was of course the highlight of the night. I must say I was very impressed with Lorde, a real proven global talent after this week.

I could go on about how dreadful this sharade of talentless shite was and how I’ll never get those two hours and twenty minutes back but it’s late on a Friday night and I’m not sure why I’m sat here typing away.

So please, Brits organisers, ‘step up your game’ next year.

That’s all I’ve got, cheers.

 

 
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Posted by on February 26, 2016 in Uncategorized