You had to be there, that’s the general feeling after watching the film marking 10 years of the All Tomorrow’s Parties festival. Either because the performances were so good that film could never fully capture the moment, such as Grinderman’s rampant 2007 set, or because eventually indifference settles in towards clips of strangers being drunk, performing covers of ‘Maps’ and making out during Seasick Steve and The Boredoms. Those are their festival stories, nobody else’s, and it’s not much different from being shown other people’s holiday photos.
This film, though, would be nothing without the fans – a collaborative effort, film by fans, artists and filmmakers has been cut together by director Jonathan Caouette, most thrillingly at the start of the film when various footage of two different performances of ‘Atlas’ by Battles build to a rowdy climax. Most of the clips are from 2004 onwards, since when the availability of relatively cheap cameras and phones and YouTube has made everyone a potential documentary maker.
ATP’s back story is covered briefly in a sequence where founder Barry Hogan watches himself being interviewed on The Culture Show. There are unanswered questions, such as how it stays sponsorship-free or how curators are chosen, but mini-manifestos from Jerry Garcia, Thurston Moore, Patti Smith and Iggy Pop certainly explain at least part of what ATP stands for – reclaiming rock & roll from big business and industry. It’s worth considering during the clips of chalets bustling with ad hoc ‘fan bands’, an idea that has since been co-opted for multinational brands’ for ad campaigns.
Audience and artists living, mingling and performing alongside each other (as Daniel Johnston, Lightning Bolt and Grizzly Bear are filmed doing) is a great part of ATP’s appeal, but it’s the action onstage that’s the most exciting here, such as a lush version of ‘The Boy With The Arab Strap’ by original festival curators Belle & Sebastian, and invigorating, intense performances by Yeah Yeah Yeahs; a ritualistic, chaotic Stooges; and furiously funky and lo-fi Gossip. Les Savy Fav, who performed at the film’s screening tour in October, bring the stage to the audience and together they sum up 10 years of ATP as good as anyone when they shout: “We were there when the world got great! We have to make it that way!” Originally written for High Voltage
Out: on DVD now
Grinderman – ‘No Pussy Blues’ (Live @ ATP 2007 with Bobby Gillespie)
Cardiff five-piece Tiger Please are the latest among a crop of fine young Welsh rock bands gathering positive press in the last year, alongside Kids In Glass Houses, The Blackout and Attack! Attack! (whose singer Neil Star appears on Tiger’s debut mini-album They Don’t Change Under Moonlight).
Some of Tiger’s songs draw upon pulsing Edge-style riffs and drippy Snow Patrol/Coldplay melodies too much – they already sound like a band with arenas rather than pubs in mind – but grown-up punk-pop numbers such as ‘The Armada’ and the shapeshifting ‘Set Sail’ singer Leon’s gruff ‘n’ ready voice and the collective, muscular harmonies of the rest of the band give them more oomph.
Full review of They Don’t Change Under Moonlighthere.
It’s easy to call Har Mar Superstar, the sexed-up alter-ego of Sean Tillman, a joke, especially compared to his folksy indie band Sean Na Na and old, bass-heavy noise/pop/punk rockers Calvin Krime. A hipster joke between 2002 and 2004, when Fab Moretti of The Strokes was his drummer and the Yeah Yeah Yeahs and a pre-super icon Beth Ditto appeared on his records, but now just an old joke by a man who doesn’t look as much like porn king Ron Jeremy as he used to.
But that would be unfair, because while Tillman’s lusty electro R&B can sound like his least sincere project, he does know what he’s doing: he’s written songs for J. Lo, Holly Valance appeared on 2004 single ‘DUI’ and has finished sets with faithful R. Kelly covers, although Britney Spears’ management turned down the lead single from Dark Touches, ‘Tall Boy’. It sounds like a Britney song – weird, clicky post-Neptunes/Timbaland electro-pop with Har Mar using the robotic voice she’s actually made her singing voice – but seeing as a ‘tall boy’ is either a beer or a boner it’s understandable that ‘her people’ turned it down (not that she’s shied away from raunchy).
Tillman can sing too, as he shows on bombastic ‘80s synth-pop ‘Sunshine’, with its wiry funk line, even if he can’t hit a falsetto; not for lack of trying on ‘I Got Next’s’ cheap electro and the anti-gangsta ‘Gangsters Want To Cuddle Me’. Most of the time though, he employs MCing that’s worse than amateur to spin grim innuendo (“let me taste your apple sauce”) or unleash streams of nonsense (‘Creative Juices’ references everything from Motley Crue to Streetcar Named Desire).
Despite the flaws, there are fun moments when Har Mar’s crotch isn’t the centre of attention. ‘Dope, Man’ is an upbeat Jackson 5 song reimagined by a sleazy small-time drug dealer, and the feisty punk-funk on ‘Girls Only’ and ‘Turn The Key’ turns down the sex factor. On the final track, Har Mar pledges to “keep our dancefloors burning”, shame he doesn’t do it more often. Originally posted at Die Shellsuit Die!
Joss Stone has grown up, to the extent that she’s reportedly willing to forfeit on £2million to leave record label, EMI, who appear to be annoyed that Stone, now 22, isn’t doing as she’s told as she did when she broke through as a 16-year-old wonder kid on The Soul Sessions. EMI even called the artwork for Colour Me Free! “offensive” and changed it in the US. The two years-plus leading up to this album have hardly been smooth. Stone’s third, R&B-style album, Introducing Joss Stone, got mixed responses and there was the backlash following Stone’s peculiar speech at the 2007 Brit Awards.
It’s difficult to say Stone’s cultural currency has fallen when she can call upon Jeff Beck, Nas and retro soul maestro Raphael Saadiq, even if the performances of the former two aren’t the finest. Beck draws out a flimsy funk like and generic classic rock solo on ‘Parallel Lines’, while Nas’ verses on ‘Governmentalist’ sound phoned in (although, he’s one of the few rappers to rhyme “dude” with “genetically modified food”).
‘Governmentalist’, a deep funk number with nods to Stone’s namesake Sly, is a stick out track rather than standout one, with explicit anti-war lyrics rather than Stone’s typical words about boyfriends being great/rubbish and peace-and-love hippyology. Trouble is, the message is lost among vocal acrobatics and the “thou shall not kill” line clangs.
It’s on the summery funk of ‘Free Me’ and ‘Incredible’ when she’s not being an X Factor-style, note-perfect diva that Stone has the most attitude and clarity in her voice. While on ‘4 And 20′, her huskiness complements the dreamy, lounge bar swing perfectly. Unfortunately, there are too many dull moments: an unadventurous cover of Ray Charles’ ‘I Believe It To My Soul’ (the nu-gospel reworking of ‘You Got The Love’ is great though); a break-up song devoid of any angst on ‘Could Have Been You’; and a 14-minute jam called ‘Mr Wankerman’, which makes Eamon’s ‘Fuck It (I Don’t Want You Back)’ appear a subtle put-down.
Stone’s voice, though, is always her own. She never tries to ape Dusty or Amy, as those who have followed her and Winehouse’s success have done. It’s just a shame the feistiness she’s shown in standing up to EMI and after the accent debacle at the Brits doesn’t appear on record. Originally posted at Daily Music Guide
Me: Why the name?
Kev: It’s a long, fairly childish story. Unfortunately, I think I’m stuck with it.
What’s your guiding principle?
To work hard, honestly and creatively with bands we love. It’s something I’ve believed in since day one, and I wouldn’t want it any other way.
How do you find new acts?
Mostly through word-of-mouth. It’s an old analogy, but the label is a family and we’re always swapping recommendations and making new friends. It’s been a while since I signed a band from an unsolicited demo.
How important is the look and packaging of your releases?
It’s very important. People can get music whenever they like – often for free – so it’s important that we find ways to add value to our products, not only to satisfy fans’ wishes but also to try and sustain our business. All our vinyl releases are packaged with a free CD-R or download, and the majority of our CD releases this year will come in nice cardboard digipaks, or limited, hand-packaged runs for sale exclusively online.
What are you future plans for expanding the label?
We’ve had a number of albums and EPs out this year and we’ve launched a series of four compilation CDs featuring rare, live and new recordings, demos and remixes. Each is limited to 365 date-stamped copies and people can subscribe, when they’ll receive a free collector’s tin to hold the discs. It’s proving a hit so far and it’s given me something really fun to work on – encouraging the bands to be creative outside the usual limitations of their own recording and touring commitments.
Meet Me In St Louis – ‘All We Need Is A Little Bit Of Energon’
Me: Why start a label?
Kev: Girls, glamour and bags and bags of cash [I don’t think this is true].
When and how did it start?
I started while I was in sixth form in Oxford seven years and 70-odd releases ago. Initially, it was just to help a friend’s band. By the time I realised that girls only liked guys in bands, I’d lost all my money on things I didn’t really understand and found out the hard way that there’s no glamour in sitting in front of a computer 24/7, doing the jobs bands don’t want to think about. It was too late, I was hooked. I can’t imagine doing anything else.
Is it a financial struggle?
Yes, quite frankly. Each release dictates how much we can afford to invest in the next. Luxuries such as marketing budgets and expense accounts are a distant dream. On the plus side, it’s taught me how to manage money and I’ve learnt everything from radio plugging to tour booking, thanks to handling these jobs in-house. The company is now more of a one-stop-shop for management, marketing and label services, with an emphasis on creative thinking and budgeting.
What other labels have influence you?
As snotty nosed teenager I was into US punk labels, the likes of Drive-Thru, who were independent,yet funded by majors, and homegrown imprints such as Fierce Panda. As a music fan, I love limited edition, hand-numbered items and have a vast collection of 90s indie releases which had a big influence on our music and packaging.
Who are your competitors?
I don’t think of anyone as a competitor. It’s an attitude I find detrimental to what we’re trying to achieve. All I’m focused on is finding and releasing the best music, and letting as many people as possible know about it in the process.
Posted by stepheneddie 
Something Kinda New: Tiger Please
November 22, 2009Cardiff five-piece Tiger Please are the latest among a crop of fine young Welsh rock bands gathering positive press in the last year, alongside Kids In Glass Houses, The Blackout and Attack! Attack! (whose singer Neil Star appears on Tiger’s debut mini-album They Don’t Change Under Moonlight).
Some of Tiger’s songs draw upon pulsing Edge-style riffs and drippy Snow Patrol/Coldplay melodies too much – they already sound like a band with arenas rather than pubs in mind – but grown-up punk-pop numbers such as ‘The Armada’ and the shapeshifting ‘Set Sail’ singer Leon’s gruff ‘n’ ready voice and the collective, muscular harmonies of the rest of the band give them more oomph.
Full review of They Don’t Change Under Moonlight here.
Tiger Please – ‘Without Country’